ERROR the Art of Imperfection

Edited by Gerfried Stocker / Christine Schöpf / Hannes Leopoldseder Ars Electronica 2018 Festival for Art, Technology, and Society

September 6—10, 2018 Ars Electronica, Linz

Editors: Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker

Editing: Katia Kreuzhuber, Alexander Wöran

Translations: German–English, all texts (unless otherwise indicated): Mel Greenwald English–German: Ingrid Fischer-Schreiber

Copyediting: Laura Freeburn

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ClimatePartner.com/53401-2678-0009 ClimatePartner.com/53401-2678-0009 ClimatePartner.com/53401-2678-0009 Ars Electronica 2018 Festival für Kunst, Technologie und Gesellschaft Festival for Art, Technology and Society

Organization Campus Exhibition, Hexagram: Chris Salter, Anna Kerekes humer, Nina Schönberger, Fabian Schwarz, Thomas Schwarz, OK Offenes Kulturhaus im OÖ Kulturquartier Ars Electronica Linz GmbH & Co KG Expanded Animation: Jürgen Hagler, Alexander Wilhelm Elio Seidl, Manfred Seifriedsberger, Magdalena Sick-Leitner, Himatsubushi Trail: Himatsubushi Research Team Martin Spanka, Elisabeth Spöck, Minoosh Steininger, Marga- OK CyberArts Team Managing Directors Music Monday: Werner Jauk rethe Stöttner-Breuer, Thomas Straßhofer, Andreas Stürmer, Directors: Martin Sturm, Gabriele Daghofer Diethard Schwarzmair, Gerfried Stocker Nightline: Salon 2000 Johannes Stürzlinger, Ilona Stütz, Istvan Szabo, Bhoomesh Public Relations & Project Management: Maria Falkinger Ars-Electronica-Straße 1, 4040 Linz, Austria Sonic Saturday: Volkmar Klien, Se-Lien Chuang, Andreas Tak, Michael Thaler, Schirin Turko, Thomas Viehböck, Florian Exhibition Team: Genoveva Rückert*, Andreas Kurz, Jarno Tel: +4373272720 Weixler Voggeneder, Raffaela Vornicu, Manuel Walch, Florian Wan- Bachheimer, Maria Venzl* Fax: +4373272722 ninger, Lisa Wiesmayr, Judith Wittinghofer, Ralph Maximilian Art Mediation & Texts: Rosi Grillmair, Marlies Stöger and ­ [email protected] Zilian, Martin Zillner, Lilith Zschetzsche Curators* Prix Ars Electronica 2018 OK Night: Markus Reindl* Co-organizer Prix Ars Electronica Gala and Big Concert Night Ars Electronica Futurelab Production Manager: Aron Rynda LIVA — Linzer Veranstaltungsgesellschaft mbH, Idea: Hannes Leopoldseder Roland Aigner, Julia Angerer, Florian Berger, Patrick Berger, Production Team: Katharina Baldinger-Hackl, Attila Ferenczi, Brucknerhaus Linz Conception: Christine Schöpf, Gerfried Stocker Gloria Bope, Samuel Jakob Eckl, Marianne Eisl (Ternek), Maria Alfred Fürholzer, Martin Haselsteiner, David Kraxberger, Bern- Directors: Dietmar Kerschbaum, Thomas Ziegler Coordination: Martin Honzik, Emiko Ogawa Eschlböck, Peter Freudling, Matthew Gardiner, Rachel Hanlon, hard Kitzmüller, Franz Quirchtmayr, Felix Pöchhacker, Andreas Technical Management: Karl Julian Schmidinger Roland Haring, Peter Holzkorn, Horst Hörtner, Kyoko Kunoh, Steindl, André Tschinder, Hans-Jörg Weidinger, Gerhard Wörn- Co-organizer CyberArts Exhibition Finance & Organization: Veronika Liebl Anna Kuthan, Christopher Lindinger, Elisabeth Luger, Michael hörer OK Offenes Kulturhaus im OÖ Kulturquartier Mayr, Stefan Mittlböck-Jungwirth-Fohringer, Otto Naderer, Team: Verena Atteneder, Jocelyn Antensteiner, Renate Berger, Directors: Martin Sturm, Gabriele Daghofer Production Team: Christl Baur, Florina Costamoling, Ingrid Nicolas Naveau, Ali Nikrang, Hideaki Ogawa, Benjamin Olsen, Michael Dalpiaz, Walter Eckerstorfer, Max Fabian, Petra Fischer-Schreiber, Marion Friedl, Jessica Galirow, Eva Maria Maria Anna Pfeifer, Johannes Pöll, Daniel Rammer, Erwin Fohringer, Werner Friesenecker, Michaela Fröhlich, Michael Co-organizer Campus Grabmair, Elmar Glaubauf, Jürgen Hagler, Kristina Maurer, Hans Reitböck, Clemens Francis Scharfen, Raphael Elias Schaum- Gritzer, Josef Gruber, Stephan Hadwiger, Dominik Harrer, Sabine Universität für künstlerische und industrielle Gestaltung Christian Merten, Manuela Naveau, Tatiana Villacob, Christina burg-Lippe, Simon Schmid Haunschmid, Evi Heininger, Robert Herbst, Susi Heuschober, Rector: Reinhard Kannonier Radner, Jutta Schmiederer, Nana Thurner, Joschi Viteka Maximilian Höglinger, Fritz Holzinger, Karin Huemer, Florian Hujber, Rainer Jessl, Christoph Kaltenböck, Sabrina Kamenar, Ars Electronica Festival / Prix / Exhibitions Directors Ars Electronica: Gerfried Stocker, Christine Schöpf Sigrid Krenner, Daniela Lacher, Simon Lachner, Katharina Lack- Sophie á Wengen, Christl Baur, Amelie Brandstetter, Florina Head of Festival: Martin Honzik ner, Barbara Mair, Judith Maule, Franz Minichberger, Walter Press Costamoling, Melanie de Jong, Hannes Franks, Marion Friedl, Technical Head: Karl Julian Schmidinger Mühlböck, Wolfgang Nagl, Christian Öhlinger, Kadir Özdemir, Christopher Sonnleitner, Joan Bairam, Robert Bauernhansl, Jessica Galirow, Violeta Gil Martinez, Eva Maria Grabmair, Head of Finance & Organization: Veronika Liebl Maria Pachinger, Josef Pfarrhofer, Franz Pfifferling, Wilhelm Martin Hieslmair, Vanessa Graf Martin Honzik, Andrea Kohut, Katharina Kolar, Katia Kreuz­ Pichler, Angelika Pöschl, Gerda Sailer, Markus Schiller, Ulrike huber, Magdalena Lettner, Veronika Christina Liebl, Lisa Martl, Production Team: Alex Anikina, Christl Baur, Klaus Schimpl, Helene Schoißengeyr Marketing Kristina Maurer, Hans Christian Merten, Fabian Mühl- Birklbauer, Amelie Brandstetter, Bernd Breitenauer, Florina Wolfgang Königsmaier, Michael Sick-Leitner, Eva Tsackmaktsian, berger, Manuela Naveau, Emiko Ogawa, Christina Radner, Costamoling, Florian Cossee, Melanie de Jong, Anna Eder, Chris Christine Utz Alexandra Röck, Michael Samhaber, Karl Schmidinger, Karla Eichenauer, Stephan Feichter, Hannes F. Franks, Marion Friedl, Spiluttini, Nora Spiluttini, Sebastian Sprenger, Tatjana Villacob LIVA – Linzer Veranstaltungsgesellschaft mbH, Benedikt Foreith, Jessica Galirow, Violeta Gil-Martinez, Eva Maria Melendez, Laura Welzenbach, Alexander Wöran, Viktoria Wöss, Grabmair, Dominik Greuter, Jürgen Hagler, Randolf Helm- Brucknerhaus Linz Ars Electronica Linz GmbH & Co KG Carla Milena Zamora Campos stetter, Bernhard Hinterreiter, Ferenc Hirt, David Holzweber, Directors: Dietmar Kerschbaum, Thomas Ziegler Managing Directors Nikolaus Jungwirth, Isabella Kartusch, Andrea Kohut, Kath- Team: Wolfgang Scheibner, Wolfgang Schützeneder, Ursula Diethard Schwarzmair, Gerfried Stocker Ars Electronica Management Services arina Kolar, Katia Kreuzhuber, Bernhard Küllinger, Tobias Kislinger Leibetseder, Juliane Leitner, Michael Lehner,­ ­Magdalena Robert Bauernhansl, Barbara Diesenreither, Johannes Egler, Lettner, Sami Mandee, Lisa Martl, Kristina Maurer, Felix Ars Electronica Center Michaela Frech, Bettina Gahleitner, Gerhard Grafinger, Anton Merten, Hans Christian Merten, Claudia Moser, Fabian Mühl- Katharina Aichinger, Viktoria Aistleitner, Joan Bairam, Andreas Grünwald Belada, Haitham Harwash, Martin Hieslmair, Christoph Universität für künstlerische und berger, Manuela Naveau, Michaela Obermayer, Emiko Ogawa, Bauer, Reinhard Bengesser, Carla Danzer, Ernesto Danzer, Hofbauer, Julia Hofstätter, Andrea Huemer, Markus Jandl, Klaus industrielle Gestaltung Hideaki Ogawa, Matthias Paul, Franz Peterseil, Veronika Platz, Shirin Darwish, Blanka Denkmaier, Erika Eiter, Julia Felber- Kaiser, Michael Kaiser, Elisabeth Kapeller, Isabella Kartusch, Moana Ponesch, Christina Radner, Isabella Reder, Katharina bauer, Melinda File, Julian Fischer, Gerhard Josef Friedl, Andrea Stephan Kobler, Wolfgang Königsmaier, Fadil Kujundzic, Florian Rector: Reinhard Kannonier Richtsfeld, Elena Robles-Mateo, Alexandra Röck, Michael Fröhlich, Philipp Gartlehner, Mitra Gazvini-Zateh, Christian Lehner, Dominic Lengauer, Peter J. Nitzschmann, Sabine Plank, Vice-Rectors: Frank Louis, Sabine Pollak, Christine Windsteiger Samhaber, Michael Sarsteiner, Sonja Schachinger, Miro Gerber, Elisabeth Gerhard, Vanessa Graf, Anna-Teresa Greger, Michael Sick-Leitner, Christopher Sonnleitner, David Starzengru- Team: Nina Wenhart, Andre Zogholy Schawalder, Thomas Schlager, Julian Schmiederer, Daniel Nicole Grüneis, Ulrike Gschwandtner, Thu Trang Eva Ha, Harald ber, Daniela Thaller, Eva Tsackmaktsian, Christine Utz, Michaela Schöngruber, Laurin Siehs, Markus Sigl, Killian Sochor, Karla Haas, Birgit Hartinger, Barbara Heinzl, Katherine Heller, Thomas Wimplinger Spiluttini, Nora Spiluttini, Sebastian Sprenger, Lukas Hillinger, Florian Hofer, Sri Rahayu Hofstadler, Gerold Hofstadler, Traxler, Jochen Tuch, Tatiana Villacob, Gohar Vardanyan, Eva Hofstädter, Thomas Jannke, David Jentgens, Andela Jovic, Ars Electronica Solutions Joschi Viteka, Andreas Weilguny, Laura Welzenbach, Smail Jusic, Elisabeth Kattner, Herwig Kerschner, Sarka Klaf- Ina Badics, Chris Bruckmayr, Stefan Dorn, Stefanie Farkashazy, Sophie à Wengen, Nina Wenhart, Michaela Wimplinger, böck, Viktoria Klepp, Karin Knoll, Michael Koller, Thomas Koll- Michaela Fragner, Yvonne Hauser, Barbara Hinterleitner, Alexander Wöran, Viktoria Wöss, Carla Zamora Campos mann, Christoph Kremer, Nadine Krenner, Andreas Leeb, Sabine Martin Kaiser, Maryrose Mercado, Michael Mondria, Harald Moser, Leidlmair, Juliane Leitner, Anna Katharina Link, Ulrike Mair, Patrick Müller, My Trinh Müller-Gardiner, Stephan Pointner, Co-curators Clemens Mock, Erika Mondria, Horst Morocutti, Claudia Moser, Andreas Pramböck, Gerald Priewasser-Höller, Gabriele Purdue, Architects: Jürgen Haller, Christoph Weidinger Silvia Mukherjee, Daniel Murina, Heinrich Niederhuber, Dominik Trichlin, Markus Wipplinger, Claus Zweythurm Ars Electronica Animation Festival: Christine Schöpf, Andrea Oberfichtner, Michaela Obermayer, Benjamin Perndl,­ Jürgen Hagler Dietmar Peter, Svetlana Petrovic, Katharina Pilar, Armin Ars Electronica SPAXELS Campus Exhibition, Interface Cultures: Christa Sommerer, Pils, Anna Renata Polewiak, Thomas Prenn, Helmut Rein- Harald Dirisamer Laurent Mignonneau, Tamiko Thiel, Michaela Ortner, Fabrizio thaler, Ulrike Rieseneder, Ezan Riza, Raphaela Salhofer, Petra Lamoncha Saubolle-Hofmann, Alina Sauter, Birgitt Schäffer, Mario Schmid- ORGANIZER ARS ELECTRONICA RECEIVES SUPPORT FROM

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Gerfried Stocker Yuki Anai, Hideaki Takahashi, in the rain 59 THE PRACTICE OF ART AND SCIENCE 84 Lara Grant, Anna Blumenkranz, Adrian Freed, ERROR — The Art of Imperfection 18 FlexAbility 111 Navid Navab, tangibleFlux φ plenumorphic Artificial Life Lab, LIED, LSRO, LARICS, Associação chaosmosis 60 para a Investigação e Desen, Cybertronica Research by-wire.net — Marina Toeters, Holst Center — ASSISIbf — Symbiotic computation of Margreet de Kok, Katoenenzo — Melissa Bonvie Martin Hesselmeier, Andreas Muxel, Closed Loop Smart Athleisure Fashion 111 the weight of light 61 bio-hybrid systems 86 CONFERENCES, LECTURES, Hellen van Rees, Angelika Mader, Geke Ludden, Stefan Mittlböck-Jungwirth-Fohringer, The Bien 62 g.tec medical engineering GmbH, WORKSHOPS BR41N.I0 Hackathon 88 Textile Reflexes 112 Shun Owada, unearth / Paleo-Pacific 63 g.tec medical engineering GmbH, Bugfix the Brain 89 Patrizia Marti, Matteo Sirizzotti, Pietro Rustici, Conferences and Lecture Program 24 Joana Moll, DEFOOOOOOOOOOOOOOOOOOREST 64 Simone Guercio, Michele Tittarelli, Iolanda Iacono, Marjan Colletti, Daniela Mitterberger, Tiziano Derme, Gianluca Daino, Riccardo Zambon, Quietude 113 Innovation Forum 30 Rasa Smite, Raitis Smits, RIXC, MIT ACT, Georg Grasser, FrAgile 6 — Pahoehoe Beauty 90 Swamp Radio 65 Mogu S.r.l., Maurizio Montalti, MOGU Leather 114 Future Innovators Summit 2018 33 ars/sec Lab — Uwe Rieger, Yinan Liu, Ryo Kishi, ObOrO 66 Augmented Human Lab, LightTank 91 datable — Elizabeth Esther Bigger, Luis Edgardo Fraguada, GenCloth 115 Kathrin Stumreich, Sovereignty 67 MIT Media Lab, Fluid Interfaces Group, Cocoon 92 Francesca Perona, Jane Scott, Tiffany Wood, Mathieu Zurstrassen, Pierre Cutellic, Maria Smigielska, Proteus 2.0 93 Biocoatile 116 EXHIBITIONS I Love You / I Hate you_TDS* 68 Seoul LiDARs — Hyun Parke, Jinoon Choi, Ilian Milinov, Evgeniya Tsankova, Anna Ridler, Wikileaks: A Love Story 69 Sookyun Yang, Volumetric Data Collector 94 Yana Tankovska, Georgi Chervendinev, ERROR, FAKE & FAILURE Petar Zhivkov, Airlief 117 ERROR IN PROGRESS 38 Friedrich Boell, Dead Pixel 70 Nathalie Regard, Guillaume Dumas,

Alexandra Ehrlich Speiser, Useless Weapons Series 71 Roberto Toro, The 101-nights 95 Forensic Oceanography, CIID, VIRT-EU 96 Forensic Architecture, Mare Clausum 40 Foundland Collective — Lauren Alexander, Space Art 118 Ghalia Elsrakbi, Real-time History 72 Greiner Group, Plastics for Life 97 Forensic Architecture, Ecocide in Indonesia 42 MIT Media Lab, Space Exploration Initiative, Mr. Erbil, Volker Kreidler, WISP Collective — Reality Redrawn Challenge 98 A glitch in the stars — Space Exploration Anatol Bogendorfer, Hörstadt, Die Tonfälle 44 Nabeel, Nani Cooper, The Third Room 73 Initiative Exhibition 119 Stu Campbell, Faking News 98 Esther Hovers, False Positives 45 Martin Hertig, Sensible Data 74 Florian Voggeneder, The Kepler Station 122 Yosun Chang, Bubble Chaos Echo Chamber 99 Michael Saup, Andrea Winter, Alexander Peterhaensel, Smile to Vote — Gegor Göttfert, Florian Kofler, SPHERE 123 Andreas Erhart, +b (ORBIT) 46 Political Physiognomy Analytics 75 Rosenbauer International AG, CHALLENGE: Emergency Error Battle 100 Miha, Turšič, KOSMICA Parliament 124 Quayola, Remains 47 Rachel Ramchurn, Richard Ramchurn, STARTS Residencies 101 Nahum, The Contour of Presence 125 Isaac Monté, Toby Kiers, The Art of Deception 49 The MOMENT 76 Mario Klingemann, 79530 Self Portraits 77 Yann Deval, Marie G. Losseau, Atlas 101 Marco Donnarumma, Neurobiotics Research Laboratory, Ana Rajcevic, Amygdala 50 Risako Kawashima, Yasuaki Kakehi, Anima 78 HIMATSUBUSHI TRAIL 126 Mojca Založnik, Infinite In-Between 51 Fashion 102 Tomoya Sasaki, MHD Yamen Saraiji, MetaLimbs 79 Himatsubushi Research Team, OPN Studio — Susana Ballesteros, Jano Montañés, Industrial JP, Industrial JP 79 University of Art and Design Linz, Himatsubushi — The Art of Time KIlling 128 Give my creation...Life! 52 Fashion & Technology (FAT) 103 Chen Chen, Qifeng Chen, Vladen Koltun, Yasuhiro Suzuki, Aerial Being 129 Haruo Usuda, Matt Kemp, The Artificial Uterus 53 Learning to See in the Dark 80 Yasuaki Kakehi Laboratory, HOSOO, YCAM, Yasuhiro Suzuki, Balance Scale for Lightness 130 Yunchul Kim, Triaxial Pillars II and Argos 54 Heteroweave 106 Peter van Haaften, Michael Montanaro, Spiel | an Yasuhiro Suzuki, Nature’s Time Metronome 130 Bea Haines, Heavenly Bodies 55 in-situ performance for prepared mouth 81 Ken Furudate, Complex Order 107 Yasuhiro Suzuki, Apple Kendama 131 Cod.Act, πTon 56 Tommy Pallotta, Femke Wolting, Bart Hess, Maria Dada, Marco Coluccia, More Human Than Human 82 Life Instinct 108 Erwin Wurm, ONE MINUTE SCULPTURES 132 Takayuki Todo, SEER: Simulative Jun Fujiki, Katsuhiko Tabei, Tomihiro Akagawa, Emotional Expression Robot 57 FAIRY BOT — Sandra Trostel, Thies Mynther, Kasia Molga, Human Sensor LDN 109 All Creatures Welcome 83 etheroid 133 Ben G. Fodor, CARMINE 58 WEAR Sustain 110

University of Tsukuba, Ochiai Laboratory, Stefan Krausbar, Michael Buchbauer, The Big Concert Night 2018 186 Digital Nature Group GEMEINSAM.SICHER.FEUERWEHR 160 CAMPUS PROGRAM Naturalization of Technology Towards Jaap Blonk, Josef Klammer, Japanese Aesthetics 134 Beyond the Frame: 8K Future Research Project 161 Communicating Monologues 186 Campus 220 Dmitry Morozov, telekniting 139 Immersify 161 “The Berlioz Project” 187 Hexagram (Concordia Univerity, Université Jiwon Woo, Mother’s Hand Taste (Son-mat) 140 Tadej Droljc, Singing Sand 162 Bruckner Orchestra Linz, On Deviating and du Québec à Montréal, University of Montreal, Setting Off on a New Course 188 University of Quebec at Chicoutimi, McGill University, Kyoko Kunoh, Hideaki Ogawa, Flower of Time 141 Bela Usabaev, Dawid Liftinger, Florian Liesenfeld, Old News From New Friends 163 Silke Grabinger, SILK Fluegge 189 École Technologique Supérieur) Lisa Aoyama, The Dive 142 Taking Care. 222 Marko Ciciliani, Christof Ressi, Barbara Lüneburg, Ursula Neugebauer, Tour en l’air 190 MiND X, Comfort ZONE 143 GAPP — Gamified Audiovisual Performance and University of Art and Design Linz, Interface Cultures Performance Practice 164 Gabriele Marangoni, RED NOISE 191 Please Recharge 233 Ryo Hashimoto, Slow 144 Benjamin Weber, IPv4 Cube Anomalies 165 Electric Indigo, Academy of Arts, Architecture & Design Prague 240 Noga Sapir, Reflect 144 5 1 1 5 9 3 surround a/v live [excerpt] 191 Bartlett School of Architecture, Yihyun Lim, Kacper Pietrzykowski, Andrea Piccolo, Elisabeth Schimana, Into the sun 191 Interactive Architecture Lab Patrik Dolo, Stella Kim, Minh Dinh LIVING LAB 241 Break Time Experience 145 FEATURED ARTIST 166 Maki Namekawa, Dennis Russell Davies, Cori Olan, Andreas Bitesnich, CAFA Central Academy of Fine Arts Beijing Elisabeth Schimana, Hidden Alliances — Piano Music meets Digital Images 192 Kairos 244 Elisabeth Schimana and the IMAfiction series 168 Sparkasse OÖ Visualisierte Klangwolke 2018, University of Tsukuba DEEP SPACE 8K 146 PAX tradition = revolution 196 PhD. Program in Empowerment Informatics 246

Memo Akten, WAVES 149 GALLERY SPACES 172 Mihaela Kavdanska, Dilmana Yordanova, Maria Mora, King’s College London — Mariana Gavriciuc, Mirian Kolev, Diana Dulgheru, Digital Humanities Department Ouchhh, POETIC AI _ ERROR 150 Stefana Fratila Sex in the Digital Age 248 OFF8NOFF: Spaces Alive #abstract | 50HZ & dastrio, Ouchhh, “SAY_SUPERSTRINGS” 151 Stefana Fratila Live 198 London College of Communication, Gerhard Funk, Christian Berger, Şehmus University of the Arts London Amanda Augustin, Lorena Höllrigl, Holy Hydra 199 Poyraz Birusk, Clemens Niel, Fabian Terler EVENTS, CONCERTS & Tribes and Machines 251 Cooperative Aesthetics — Next Edition 152 PERFORMANCES Roy Ascott Technoetic Arts Studio, Sophie Amelin, Jeremiah Diephuis, Georgi Kostov, Shanghai Institute of Visual Arts Marlene Mayr, Tobias Sichmann, Eric Thalhammer FOCUS DIGITAL MUSICS & SOUND ART 200 !OBJECT 257 Ars Electronica Opening 178 City Lights 153 Queen Mary University, London Volkmar Klien, composing (in) digital worlds 202 Jürgen Hagler, Andrea Aschauer, Jeremiah Diephuis, Ars Electronica Nightline 179 Explorations of Interactions 259 House of Medusa 154 Werner Jauk, What is music to... 204 Alexandra Murray-Leslie, Melissa E. Logan, Art & Technology Studies at School of the Ali Nikrang, Creative IA — Style Transfer 155 Chicks on Speed 180 Werner Jauk, Power is the only error... 210 Art Institute of Chicago Disruptive Generation 262 Fraunhofer MEVIS, Physicians’ Colleague, Patients’ Chris Ziegler, CORPUS (2011/2017) 181 Goran Vejvoda, Florence Müller, Helper: The Cognitive Computer 156 All Sounds Considered 212 Shantou University, China Martin Messier, FIELD 182 Melodies from Teochew Strings 264 Fraunhofer MEVIS, Media Art Nexus NTU Singapore, Alexis Langevin-Tétrault, Before Us Lies Eternerdy 157 University of Art and Design Linz, Interférences (String Network) 183 Visual Communication Victoria Vesna, Alfred Vendl, Martina Fröschl, THEATER AND DIGITAL MEDIA 214 Gabriele Marangoni, Silent 184 Log. Files. Stories from the Internet of Things 267 Noise Aquarium 158 Stefan Mittlböck-Jungwirth-Fohringer, European Theatre Lab: Drama goes digital 215 University of Art and Design Linz, Hans-Peter Bunge, Bernhard Schuberth, Accordion Noise Performance 185 Visual Communication Markus Wiedemann, Dieter Kranzlmüller, Stage Your City 216 splace magazine 269 A Journey into the Earth 159 Marco Donnarumma, Margherita Pevere, Azathot 185 The Culture Yard, Very Mainstream Studio & New Design University St. Pölten, Very Theatre, Noora Hannula & The Nordic Beasts, Graphic and Information Design Carl Emil Carlsen, Bjørn Svin Design Fiction 270 The 4D Box — a holographic live stage 217

RunwayML — Cristóbal Valenzuela, VRLab 340 Ars Electronica Solutions 370 Inaccurate Collaborations 314 ARS ELECTRONICA ANIMATION CyArk, FarBridge, MasterWorks 340 ESA: Experience 373 Roy Macdonald, Defective Apparatus 315 Φ FH Hagenberg / Playful Interactive Environments, Ars Electronica ANIMATION FESTIVAL 2018 274 Umdasch: Two Pavilions for an Anniversary 375 Cristóbal Cea Sánchez, Glorias 316 House of Medusa 340 Jürgen Hagler, Expanded Animation 2018 281 Dazwischen Nani Gutiérrez, Acceder 317 Richi Owaki, Yamaguchi Center for Arts and Media occurences in Linz from 1918 to 1938 — The Other in You 341 Stadtwerkstatt, STWST48x4 SLEEP 318 an audio exhibition 375

DEPART, The Lacuna Shifts 342 BIO Austria, BIO AUSTRIA Stands for Fronius: Arc of Light & Weld Cube 377 Organic Quality from Austria 321 Keiichi Matsuda, HYPER-REALITY 342 voestalpine: Mixed Reality Drone U19 — CREATE YOUR WORLD netidee Jürgen Ropp, Oliver Lehner, LOGIN 343 Race Performance 379 Open Source Community Camp 322 INEO, Project INEO 343 BRAIN COMPUTER INTERFACE 380 Future Festival of the Next Generation 2018 285 Michael Faschinger, bürgerchain 322 Frederick Baker, Klimt’s Magic Garden 344 MIXED REALITY SCENARIOS 380 u19 Exhibition 298 Matthias Zeppelzauer, Alexis Ringot, Gianpaolo Barozzi, Bill Jackson, Chuck Shipman, GIGAPIXEL VIEWER 381 CREATE YOUR WORLD TOUR & Florian Taurer, Kevin Pirner, SoniTalk 322 Laura Smith, Mark Burkitt, Toshi Hoo “u19” international 300 Urban Development in the Austrian City Christoph Fabianek, Nico Grienauer, Digiti-light the Human Networks 344 of Leoben 381 Conferences @ u19 — CREATE YOUR WORLD 301 Christian Ziegler, Florian Fida, OwnYourData 323 TIME OUT .08 345

Creative Robotics 346

Infabity 347 Ars Electronica Export 382

ARS ELECTRONICA Digital Design Weekend 2017 384 GUEST PROJECTS Tokyo Midtown: School of the Future 385 Ars Electronica Center 326 Ars Electronica Futurelab 348 EMAP/EMARE 304 Ars Electronica on the Knowledge Capital — Robertina Šebjanič, Gjino Šutič, Digital Education 328 Horst Hörtner, Future of Imperfection 350 Artists as Catalysts (Vol. 8) 386 aqua_forensic 304 Ars Electronica as Educational Facility — Open Futurelab 356 Ars Electronica in Nigeria 387 School for the Future 330 Anna Dumitriu, Alex May, Spaxels Research Initiative 356 European Forum Alpbach 2018 — ART TEC: ArchaeaBot 307 FutureClash 333 Interfaces of Art, Technology and Science 388 Ars Electronica Futurelab Academy 2018 360 Chloé Galibert-Laîné, Kevin B. Lee, CanSat Competition 2017/18 333 TIME’S UP / Medusa Bar particles 389 Bottled Songs 3 & 4 308 ORI*GEN 363 In-Flight Call to the International Space Station 334 Ars Electronica @Hyundai Motorstudio Anna Ridler, Myriad (Tulips) + Mosaic Virus 309 Immersify — cutting-edge tools for the Seoul-Moscow-Beijing Wir sind Zeitung 334 next generation of immersive media 364 Kentaro Kumanomido, Thomas Anthony Owen, ”Future Humanity — Our Shared Planet” 390 faster than light 310 Long Night of Research 335 Lazarus 365 ARS ELECTRONICA four decades: Karen Lancel, Hermen Maat, Kissing Data 311 Deep Space Mobile 336 Ars Electronica Japan as a Creative the essentials 395 Catalyst for Culture and Innovation 366 Chilean Artists at the Ars Electronica DonauArt 337 Ars Electronica in Berlin: Festival 2018 312 Ars Electronica Tokyo Initiative and ERROR — THE ART OF IMPERFECTION 396 Hiroshi Ishii, Tangible Media Group, MIT Media Lab Future Innovators Summit Tokyo 367 Claudia González Godoy, The Water Resistances Radical Atoms 339 POSTCITY LAB Seoul 398 Laboratory “Toboggans” 313 Beyond the Frame: 8K Future Project 368 ZER01NE, Creative Network Platform 399 Virtual Anatomy 369 Augmented Intelligence 369

16 17 ERROR — THE ART OF IMPERFECTION

Gerfried Stocker (AT)

The 2018 Ars Electronica Festival Theme: ERROR — The Art of Imperfection

At what point does an error become a mistake, a fail, in technology. And amidst this drive to optimize, to How many errors in the genetic sequences of living Formats and Programs at the and what makes it the celebrated source of unprec- increase efficiency and raise productivity, and, in even creatures did evolution have to make until LUCA (last edented ideas and inventions? When is an error an more instances, merely to enjoy the possibilities that universal common ancestor) became Homo sapiens 2018 Festival oversight and when is it intentional deception, a fake? digital technologies and social media place at our fin- 3.5 million years ago? And how many errors did Homo An error is a discrepancy from what we expect, a devi- gertips, we put ourselves at the mercy of machinery sapiens need to learn from in order to achieve our cur- Opening up the dimension of media-art and science to ation from the norm … but what is the norm and who that does its utmost to make lemmings of digital con- rent state of development? And how much poorer in the general public has always been a main concern of establishes it? An error doesn’t have to be a mistake; sumption out of us. terms of experiences and insights would humankind Ars Electronica; nevertheless, intensifying the efforts it can be an opportunity! Big Data surveillance takes preventative action upon now be if there had always only been “normal” people in the avant-garde media-art genre with specialized But how much tolerance can we summon up for such detecting any deviation from our habitual ways. And it and the statistical mean … no other kinds, deviant partners, particularly in selected areas of emphasis, deviations, and is it enough for the leeway and lati- is said that in the future, social scoring will do an even thinkers, people of different colors, or those with alter- has been intrinsic to the spirit of Ars Electronica since tude that are necessary to unleash their inherent pro- better job of optimizing our behavior and attuning it to native beliefs? its very inception. In order to live up to both ends of the ductive power which can be harnessed for social and social norms and standards. The more the technolo- To err is human, it’s said. Could that be why we’re spectrum the festival offers a variety of well-estab- economic innovation? Or will we allow ourselves to gies deployed for this purpose are perfected and made incessantly striving for perfection and steadfastly lished and new formats. The Ars Electronica Animation be misled by the populist rhetoric of fear and social more efficient, the tighter our situation becomes. believe we can attain it with technology and science, Festival is already an integral part and even earned the scoring? Observing the current situation, one very Whoever doesn’t fit in sticks out and gets cut. and in spite of the fact that there is nothing that we title festival within the festival. Another well-known quickly gets the impression that something has gone But it is precisely this imperfection that offers the fear more than being eliminated by a world of machin- format by now is the focus on digital music and sound terribly wrong with the Digital Revolution and the 21st greatest potential for new solutions. Our objective ery that functions perfectly well without us? art with Music Monday and Sonic Saturday in coopera- century. Millions of people feel that they have been should not be optimization, since this is merely a How can we rethink our very ambivalent relationship tion with the Anton Bruckner Private University. defrauded of their sovereignty over their data and their best-possible approach and adaptation to what we to technology as the driving force for configuring our Theater and Digital Media was successfully launched privacy. Deception and fakery have become realities can now think and deem correct. Optimization leaves future, and what errors should we perhaps not repeat at the last festival. This year includes a session on of everyday life, and influence public sentiment and no leeway for the unanticipated, and thus no latitude in the process? digital strategies for theater and a fascinating perfor- the public opinion formation process. And hovering to recognize and rectify what actually are undesirable mance. Last years’ introduction of the Ars Electronica above it all is a diffuse anxiety of being left behind by developments or to come up with better ideas with Gallery Spaces, as a setting for media artists, collectors the swift dynamics of development. Was the dream which to set forth on alternate courses. The call for social intelligence is now being juxtaposed and galleries to compare experiences and discuss core of a beautiful digital world an error, and how can we to our enthusiasm for the digital world and artificial issues like the conservation of media-art project, also rescue this dream? Effectively dealing with errors, risk tolerance and intelligence. We are propagating the courage to wel- sparked great interest. Markus Poschner will conduct This day and age is characterized by a compulsion to creativity are perhaps the skills that are most import- come imperfection, since isn’t that quite possibly his second concert with the Bruckner Orchestra in achieve perfection and a seemingly unwavering faith ant for our future. what will always set us apart from the machines! conjunction with the Big Concert Night,

18 19 ERROR — THE ART OF IMPERFECTION

in which the program concentrates on connecting as throughout the whole festival. The theme conference well as juxtaposing tradition, the state-of-the-art and on Friday takes a look at the phenomenology of err- modernism. ing. Various scholars reflect on conscious respectively A special highlight this year is the Himatsubushi Trail, unconscious acts of deviation from the norm. As a which delves into the art of killing time as a means counterpoint, the Academy of Error on Sunday intends of finding new perspectives for the future in an ever- to celebrate the error by revealing its productive poten- accelerating society. Fashion & Technology is a new tial and examining it on a more personal level. At the section revolving around the newest developments in Space Art – Trial and Error in Art & Science panel differ- YInMn-Blue, a pigment with very special only recently, the unexpected side-effect wearables and smart devices on the one hand. On the ent speakers will expand on the mechanics and dynam- technical properties, was discovered other hand, a lecture panel will shed light on differ- ics of the error when facing the venture of exploring our of an error in a scientific experiment. ent aspects of fashion with regard to ­interdisciplinary universe with an interdisciplinary approach. approaches in the Art & Science field as well as The STARTS Day offers lectures, panels and work- sociopolitical developments. As a festival of art, tech- shops on the potential of evolving future innovators nology and society, a crucial part of Ars Electronica’s and encompasses tours through the STARTS Prize

mission is monitoring and mediating encounters with Exhibition.

technological and social developments. Accordingly (r, g, b): (45.82, 79.92, 143.51) we are hosting the Internet of Things (IoT)-workshop Trust in Invisible Agents, an interactive conversation Crystal System: Hexagonal about ideas of transparency, clarity and governance Theme Exhibitions within the realm of the IoT. The Ars Electronica Inno- Error stems from the latin word errō and does not vation Forum 2018 discusses interdependencies of only mean to be wrong but also wandering about. culture and economy in relation to this year’s festival Wandering about – and wondering – seems to be a topic ERROR – The Art of Imperfection. fitting mode when visiting a festival for art, technology Swarm Arena is the latest outcome of joint research Hex triplet: #2626f7 and society that approaches such a multifaceted term YIn1−xMnxO3 efforts by the Ars Electronica Futurelab and Japanese as error. Of course, from a curatorial and certainly an telecommunications giant NTT with the aim of work- organizational viewpoint, there have to be subdivi- ing on using unmanned aerial or ground vehicles as a sions, especially when it comes to setting up instal- means of communication. At the festival not only the lations in premises measuring almost 100,000 square current state of research will be presented, moreover meters. The theme exhibitions have been structured experts will openly discuss the facets and future pos- according to two fundamental approaches, though (c, m, y, k): (68.07, 44.31, 0, 43.72) sibilities of this project. there is a great deal of overlapping among them. Art Crystal Symmetry: P63cm and Technology projects, the origination of which was motivated primarily by research and exploration, make (h, s, v): (219.06°, 68.07%, 56.28%) Symposia, Workshops, Tutorials up the exhibits in the large halls on the 1st Upper Level; art and technology projects that are primarily means From artworks and projects in the exhibition to sym- of artistic expression predominate in the large exhibi- posia the recurrent theme ERROR – The Art of Imper- tion parcours arrayed in the spectacular spaces of the Unit Cell: a = 6.24 Å; c = 12.05 Å fection will be explored from a multitude of angles lower Levels.

This cursory description of some of the items on this This is made possible by collaboration with the year’s lineup can provide only a rough idea of the char- festival’s countless partners and supporters through- acter of this festival, and constitutes only a small part out the domains of art, technology and society. They of a very extensive festival program that is jam-packed all contribute to this festival with their ideas, visions with offerings of consummate quality. and commitment, and have earned our sincere thanks.

20 21 ERROR CONFERENCES, the Art of Imperfection LECTURES, WORKSHOPS CONFERENCES, LECTURES, WORKSHOPS

Conferences

social and technical innovation. In our longing to man- Fakes, Responsibilities and the fields of technological, economical and industrial Opening Symposium age the imperfections of ourselves and our surround- innovation. Especially in the design of emerging tech- ings we invented all kinds of mind and body exten- Strategies nologies like intelligent machines, these allegedly It is all about ERROR — The Art of Imperfection. sions. To expand our reach our ancestors thought of Conscious erring and the accountability question abnormal but consequently creative thinking processes The Opening Symposium offers an insight into the complicated steering mechanisms for seafaring, optic and alternative viewpoints are sorely needed. There is discourse contributions of Ars Electronica’s core devices helped us study our solar system, and soon Apart from randomly occurring errors, we have been a strong expectation that artistic participation provides formats and is intended to serve as a teaser that privatized space travel aims to colonize other plan- experiencing intentional man-made deviations that an advanced strategy for enhancing and strengthening arouses curiosity for more. The speakers — all of ets to ensure humanity’s survival. We have learned to are using current technology to produce lifelike deep ethical conscience and responsible innovation in the them fundamental to the festival’s conferences, include errors in our thinking to make substantial prog- fake videos and spread misinformation in digital media. European path towards artificial intelligence. lectures and workshops — will present previews of their ress in social innovation as well as technical and indus- In a mediascape where the average user couldn’t care lectures on art, innovation, science and technology, Text: Karla Spiluttini trial developments. Still, humanity remains a fragile less about the veracity of sources, who is responsi- which will be held in the following symposia. With the construct. Nassim Nicholas Taleb, a Lebanese-­American ble for regulating the distinction between true and wide range of options given by the festival program, scholar, has coined the concept of ­Antifragility to false? Observing the international political land- this is a perfect opportunity to get an overview and which he refers as being fundamentally different ­ scape and attitudes, the trend appears to be leading Academy of Error decide on the personal key interests. from resilience: “Antifragility is beyond resilience or away from affirmations of altruistic humanist values The Academy of Error sets the counterweight to robustness. The resilient resists shocks and stays the towards self-centered, short-sighted decision-making ­Friday’s Error conference. It is a celebration of errors, same; the antifragile gets better.” In this sense, our processes. Thanks to rhetorics of fear being spread mistakes, and failures. It seeks to reveal the potential world has proven itself quite antifragile; mutating, without rational evaluation or any hint of ethical con- that lies in committing errors, turning the unexpected Theme Symposium: varying its behavior and reactions after errors have science via social media, absolutist rulers are being experience of failing into a productive and constructive ERROR — occurred. At the same time other evolutionary errors voted into power and employ authoritarian methods part of our processes. It shifts the reflection on the have been carried from generation to generation and of public and private monitoring. act of erring from an outward perspective to a more The Art of Imperfection appear to be making no efforts to vanish. Every repli- As huge amounts of data are being generated via our personal level. Professionals from different fields of cation of a cell creates errors in its structure. It remains monitored and quantified selves and surroundings, science will give insight into the handling of errors in yet to be seen if humanity can prove to become truly then collected and processed by automated systems their respective disciplines. Imperfection Implied antifragile at some point in the future. and learning machines, we demand more regulations The Fragile Being human implies imperfection, still striving of who is doing what with our personal data. But we Errors in Culture, Body, Mind and Technology towards perfection and optimization is deeply rooted have to understand that by using and interacting with in our behavior. We are trying to optimize Artificial digital technologies, we are becoming digital citizens Space Art — Trial and Error in Errors have always played an important role for us. Intelligence by having it learn from errors it has made. ourselves and therefore need to take over responsi­ Art & Science Without errors in genetic coding, human evolution With this obsession with pseudo-perfection, we are bilities as well. It should be an important goal for us to would not have happened. Mutations made our brains preprogramming catastrophes. It is hubris to assume actively develop powerful strategies of data autonomy. Art might not be the first category that comes to mind bigger, turned our spines upright and gave us the that we as imperfect beings can produce perfect It seems that the next big leap in dealing with our when thinking of actual space travel and exploration; physical capability of advanced communication. Once machines that will not commit any errors. errors needs to proceed from delegating problem the technical aspect — rockets, spacesuits, space plat- we became aware of our own fragility, the trial and Luckily for us, there are those that defy our fragility and solving to artificial intelligence or official entities forms — would probably be more dominant. At first error mechanism enabled and possibly even forced dive head-on into taking risks. Pioneers of human towards developing and promoting a sophisticated glance, it almost seems impossible to combine these us to learn and develop behaviors, social structures, innovation embrace the dangers of committing social intelligence and ethical responsibility. Part of two. Yet, exploring is a vital part of both domains: ­science and sophisticated technology. grave errors to imagine and eventually realize complex this responsibility is to encourage the emergence of searching for the formerly unknown or unconscious Errors are imperfections, deviations from the norm, projects, like having robots plot out steel bridges on the polymaths and cross-disciplinary approaches. As a or, at least, looking at the dark corners of our universe. not conscious failures or mistakes. Imperfection is an go or engineering an over-the-counter kit for home- counterpart to hyper-specialized experts staying well Space Art is a category which vibrantly participates important creative and poetic force that also fosters made custom remedies for vaginal health. within the bounds of their respective fields, polymaths in the field of Art and Science. However, the confer- could be viewed as symbolic for the essence of afore- ence will delve into the mechanics of trial and error mentioned imperfection. Yet conscious imperfection in Art and Science in general, with a particular focus plays a crucial role of defying our mania for perfection in on Space Art.

24 25 CONFERENCES, LECTURES, WORKSHOPS

Lecture Program

Expanded Animation–Hybrid latest changes in art, science and technology are the The emphasis is on the future of the music industry the future, the prospect of more efficiently outfitting essence of media artworks. and musical training. Considering these two systems and accessorizing constructions of a person’s body, Technologies in Animation The Media Art Market Symposium on Saturday is jointly is meant to provide a better overview and more labor and identity, and enabling them to function more In collaboration with the Upper Austria University situated in the Prix Forum + Art Talks, which will be profound insights for musicians. Music Education Day efficiently and live better thanks to new materials. of Applied Sciences’ Hagenberg Campus, the 6th held in the OK. The discussion shows the current and will lay down the beat and set the tone Fashion operates as a social bot, an ideological tool Expanded Animation symposium carries on a process future situation of the Media Art Market. It still suffers programmed algorithmically to optimize the human launched in 2013 — mapping the wide-ranging domain from less visibility on the common contemporary art Open Futurelab body and retail consumption. of animated worlds of imagery beyond the well-trod- market, even if the latest changes in art, science and What’s the connection between sociopolitical devel- den paths. The symposium stays the course originally technology are the essence of media artworks. As in past years, the “Open Futurelab“ means a stage opments and these new, optimized materials, human set at its inception, and presents theoretical positions within the festival, where projects and project part- sources and natural resources? Who or what pro- and perspectives from the art world, the R&D field and Gallery Space Panels ners of the Ars Electronica Futurelab — like NTT, the duces substantive texture? And doesn’t this synergy the industrial sector. The mission: To function as a Japanese telecommunications giant — are presented. between research and fashion, fashion and technology, The Gallery Space Panels are situated in the Säulen- driving force advancing an interdisciplinary discourse. Selected industrial, educative, artistic and research run the risk of reproducing this structure? halle. Deep in the core of PostCity gallerists, artists, This year’s symposium is an inquiry into future inter- collaborations will be positioned next to each other in The concept of expanded fashion research permits theorists and collectors dig deep into the complexity faces in animation. Interfaces in Motion will focus one spot, displaying the variety of projects and wide us to shift our perspective, to look beyond the fast of the new media market out of their own experience. on animation technology at the manifold interfaces range of activities going on at the Futurelab in recent fashion system to an approach that’s not yet market- From business models for young artists, through the where humans, computers and interaction meet. months. able—rethinking the positioning of fashion as social, contemporary art aspects of new media artworks, processual sculpture at the interface of technology to the conservation of past and present: the Gallery and art, and enabling it to manifest political, social and Digital Theater Network Meeting Space Panels create a comprehensive picture of the Campus Forum aesthetic forms. Evolving fashion design and produc- media art market 2018. Two of the panels are co-cu- The European Theatre Lab is an international group For the very first time this year, a selection of universi- tion processes call for alternative formal and substan- rated, one by kickstarter and the other by .art. of artists, scholars and scientists from theaters and ties will not only present their work in a special Campus tive design concepts, methodological strategies, and research institutions. Together with 7 theaters, their exhibition, but also host their own discursive format artistic, social and aesthetic work and design practices work is guided by a distinguished Advisory Board of Music Monday – the Campus Forum Conferences. Hexagram will pres- in order to meet new social challenges. leading experts from the arts and technology. ent their research network, dedicated to research-cre- After two years of applied research, the results in The Sound Art Parcours “Music Monday” is a long- ation in the fields of media arts, design, technology the fields of app-based virtual & augmented reality, standing Ars Electronica tradition. The tour passes and digital culture. Other panels will discuss teaching Austrian Center for Fashion Research (ACfFR) 3D sound, auralization, psycho-acoustic effects and through the diversity and plurality of the relationship a digital native generation for a sustainable future The host of the roundtable discussion & keynotes is voice recognition surtitling will be introduced during spaces of music / sound art and the media arts. The- technology, the relation of error and education, or the the Austrian Center for Fashion Research (ACfFR), Ars Electronica 2018. oretical reflection and discussions with the artists, developments of social activism, digital communities an interdisciplinary research facility financed by the personal as well as individual physical experience, and responsible innovation in today’s media art. Republic of Austria’s Federal Ministry of Digital and immersion in the mediality of sound: this is what Economic Affairs. ACfFR is operated jointly by the PRIX FORUM & ART TALKS Music Monday stands for, because it enables intensive Academy of Fine Arts Vienna and Linz Art Universi- One of the absolute highlights of every Ars Electronica guided encounters with the sound worlds that we find The Politics of Fashion: Fashion ty’s Department of Fashion & Technology. Its mission is the opportunity to meet Prix Ars Electronica prize- at the festival. is to internationalize and strategically develop fashion winners and to attend Prix forums to hear the artists as a Social Bot research in Austria. To accomplish this, ACfFR dove- elaborate on their oeuvre and current work. In the Prix In the 21st century, fashion interwoven with tech- tails artistic research and practice-led research in Forum IV — Visionary Pioneers of Media Art session, Music Education Day nology has been affirmed as an innovative field of the field of fashion with innovative research in cul- the talk from Derrick de Kerckhove, and a lecture from A coalition of Austrian musical institutions and ini- development. What has been emerging here—tools, tural studies and art history. The Center gathers and Roger Malina is planned and afterwards we celebrate tiatives is producing an encounter with the future material & textile technologies such as 3-D printing strengthens existing expertise and research at uni- the Leonardo’s 50th Anniversary together! The Media prospects of young Austrian musicians. This event and digitization, software developments, bio-ma- versities and museums and in networks, and nurtures Art Market Symposium on Saturday as part of the Prix is an outgrowth of Music Summit, a working group terials and interactive wearables—promises to open the emergence of research projects at the nexus of Forum & Art Talks addresses questions around the formed at the 2017 Ars Electronica Festival; now, up new areas of deployment in medicine, sportswear fashion, design, culture, art and business. Media Art Market. It still suffers from less visibility one year later, they’ve put together a program for and everyday attire. At the same time, this evokes on the common contemporary art market, even if the musicians, teachers and musicologists. the promise of more sustainable fashion production in Text: Christiane Luible-Bär

26 27 CONFERENCES, LECTURES, WORKSHOPS

Guest Conferences

Prospects for Political Education “... under control of music, music under control of... composing (in) digital worlds.” Visitors can look for- Is the world coming unhinged? You would think so now ward, together with the Music Monday, to two days that atomic threat scenarios are once again discussed dedicated to the most advanced forms of digital on a daily basis and we observe the metamorphosis music and sound art, which are not only of interest to of conventional political systems. But do young people ­specialists in this genre. see things that way too? This symposium — produced jointly by the Upper Austria Teacher-Training College — will attempt to come up with answers to such ques- ZusammenHelfen Conference tions by staging speeches as catalysts, workshops as settings for discussions of ideas and methods, and a This is the fourth consecutive year that Zusammen- Dialog of Disobedience as a wake-up call. Helfen–Working Together in Upper Austria for Ref- ugees is hosting a conference for all those who are committed to and interested in helping people forced Deep Fake or Rendering the Truth to flee, or are affected by refugees and integration. This year’s conclave entitled “Day of Encouragement” The ability of computers to fake reality convincingly is will scrutinize new prospects, discuss the latest devel- going to become more and more of a critical problem as opments and challenges, and elaborate on successful hackers, extremist news organizations and politicians projects. seek to control the media narrative through increas- ingly convincing visuals. This panel, co-organized with Tobias Revell, Natalie Kane and the Impakt Fes- New Business Models for Artists tival Utrecht, will consider and speculate on possible futures for rendered realities and suggest strategies / Kickstarter Panel for regulating or countering artificial realities created by computation. The Kickstarter Panel will discuss the basic question of how artists get paid. Digital art has always run Co-funded by Creative Industries Fund NL counter to traditional institutional modes, and sought ZusammenHelfen Conference, © Tom Mesic Tom © Conference, ZusammenHelfen direct engagement with audiences. Digital artworks have explored have explored some of the most urgent Sonic Saturday concerns of our time, while the artists who create them have often struggled to find consitent funding This year the Anton Bruckner Private University is support. How are artists experimenting with payment organizing for the third time the Sonic Saturday and distribution models in ways that are both creative Symposium, which this year is dedicated to the topic and practical?

28 29 CONFERENCES, LECTURES, WORKSHOPS / Innovation Forum

FUCKUP NIGHT Linz Special STARTS Day Innovation Forum At the FUCKUP NIGHT Linz Special, selected speak- In collaboration with the European Commission ers provide their personal insights into the world of STARTS day will emphasize the potential of evolving occupational failure. With the help of 10 images, future innovators and show extraordinary samples of they’ll give an account of a project that flopped big- innovation at the nexus of art, science and technol- time and the lesson they learned from this. We — an ogy. The day concentrates on the STARTS program ­alliance of the University of Linz, Linz Art University and will lead visitors through several different formats and Tabakfabrik – are pursuing a vision: destigmatiz- of discussion, presentation of outstanding projects ing failure, socially and personally. We’re open to all as well as theoretical reviews of the role of STARTS sorts of tales of botch jobs, blunders and screw-ups. collaborations. The field of endeavor doesn’t Matter — art, culture, The STARTS Day will bring artists, creative profession- business, social, technological, scientific, whatever. als, scientists and industry representatives together There are no restrictions: the more diverse, the better! to present STARTS collaborations and art-science res- The FUCKUP NIGHT Special is being staged as a lead-in idency programs from around the world. In “Embracing to the Future Innovators Summit at the Ars Electronica the Risk — STARTS Talks” prominent practitioners and Festival. Visitors will receive valuable inputs to take winners of the STARTS Prize 2018 will present their away from this event. Learning from errors makes works, visions and experiences. The STARTS Day will something totally new possible; it enables innovation. close with a conference on Artificial Intelligence in Whoever talks about it in front of others might also Art & Science. help them avoid making the same mistake.

Fuckup Nights Linz: Birgit Wimmer-Wurm, Kathrin Anzinger, Nina Fuchs (organisation team) Fuckup Nights Vienna: Dejan Stojanovic (facilitator) , © Lukas Nötstaller © Lukas Night , FUCKUP

The Ars Electronica Innovation Forum 2018 discusses The two-day event gives some insight into the role of the interdependencies of culture and economy on the error management and the links of innovation in art, basis of this year’s festival topic ERROR – The Art of science and industry from various perspectives. Imperfection.

Innovation Forum Get Inspired (in collaboration with Wirtschaftskammer Oberösterreich)

The Thursday program with the title Innovation Forum of Get Inspired participants may choose between Get Inspired starts with a focus on the local perspec- specially designed guided tours through the festival tive of economy and innovation in comparison to the venue followed by Get Inspired Presentations of estab- famed Silicon Valley economic scene. lished, evolving and start-up businesses or a workshop The Get Inspired Symposium will examine the program on the topic of Internet of Things, discussing constructive potential of failures and fallacies and the value of artistic intervention as part of innovation

possibilities of error management. In the afternoon practice. Nötstaller © Lukas Night , FUCKUP

30 31 CONFERENCES, LECTURES, WORKSHOPS / Future Innovators Summit 2018

EMAP Jam-Session Future Innovators EMAP (European Media Art Platform), supported by the Creative Europe programme of the European Union, annually awards production grants to outstand- Summit 2018 ing European media artists and supports research, pro- duction, presentation and distribution of media art in Europe and beyond. In this session the partner insti- tutions will present themselves and artists will have the chance to obtain information about the program.

Workshops BR41N.IO Hackathon Brain Hackathons are brainstorming and collaborative marathons designed to rapidly produce working proto- types. At Ars Electronica 2018, BR41N.IO, organized by g.tec brings developers, technologists, engineers, stu- dents, artists, and scientists together in teams of 5 par- ticipants each over 2 days to cram and build solutions that they can present. Hence, the Hackathon provides an environment for innovation and entrepreneurship. By putting creative minds from multiple disciplines together for a short period of time, we have the oppor- tunity to discover and uncover new possibilities for Tom Mesic Tom using BCI-related hardware and software.

Future Sessions: Trust in Invisible Agents The Future Innovators Summit (FIS) is a creative work- the crucial questions of the future. The FIS program Expert Workshop Series on Internet of Things shop format created by Ars Electronica Futurelab and during the festival includes a broad range of lectures, Hakuhodo. Now after five years FIS has gathered presentations and exhibitions as well as ample oppor- The panel organized by FutureEverything, as part of over 100 experienced professionals as well as young tunity for participants to engage in dialogue with each Create-IoT, will stimulate an interactive conversation entrepreneurs and social activists, technicians and other and the public. around ideas of transparency, clarity, ethics and gover- scientists, and of course artists and designers at the The goal of FIS is not to create solutions, but to create nance within the realm of the Internet of Things. This Ars Electronica Festival in September in Linz for mutual so-called Creative Questions, which means missions roundtable session positions artistic intervention as a inspiration and the exchange of ideas and know-how. for tomorrow corresponding to the theme of each practical and conceptual toolset to challenge current Future Innovators are invited to explore new ways of Ars Electronica Festival — this year the main focus is thinking and explore possible futures. collective brainstorming and creative prototyping on “ERROR — The Art of Imperfection.”

32 33 CONFERENCES, LECTURES, WORKSHOPS / Future Innovators Summit 2018

FUTURE DIGNITY FUTURE SHARING

Everyone is aware of errors such as failing to treat oth- Digitization in our daily lives, between humans (and ers with dignity or the rise of political and economic also between humans and non-humans) is evolving uncertainty that attend the digital progress in society. very quickly. In this new stage of community building These errors are caused by a lack of respect and toler- and sharing, what will we need or want to share? What ance for the co-existence of tradition and the future. would be the errors entailed? Future Sharing explores Would the knowledge and experience that we — the our actions for tomorrow as beings who exist in a com- human tribe — have accumulated through our thou- munity of some kind, be it physical or digital. sands of years of history, be of any use when the future is so unpredictable and highly digitized? Future Dignity 1. What errors could occur in our future seeks future beliefs and confidence for the digital soci- shared society? ety, especially when we are behind the wheels to make 2. What would humans need to share? big decisions for tomorrow now. And how would it be realized?

Vanessa Graf Vanessa 3. How could we arrange for tolerance 1. How would dignity be created of errors in society? in the digital society? FROM THINK-TANK TO DO-TANK 2. What is tradition in an unpredictable future? The Future Innovators Summit is an initiative from Since 2018, the Future Innovators Summit has not just Thus, the Future Innovators Summit has now become 3. How might arts of imperfection Ars Electronica and Hakuhodo, and supported by netidee / been held during the festival in Linz, but also for the an annual activity of Ars Electronica to raise questions enhance our future dignity? Internet Foundation Austria. first time in Tokyo, in the framework of Ars Electronica as missions for tomorrow—globally and locally. We aim Tokyo Initiative (AETI). FIS Tokyo (for more informa- to create not just a think-tank but also a “do-tank” tion see p. 367) was realized in Tokyo Midtown in May for social innovation inspired by the cutting-edge 2018 together with Hakuhodo and focused on themes festival topics and site-specific topics. that originated in Tokyo, such as: # DEATH-LIFE # TECH-SKIN # PUBLIC-PRIVATE

The Themes of FIS2018

FUTURE HUMANITY

When we are facing a world where machines may 1. What errors are we attracted to? And why? evolve to be better thinkers and doers than humans, 2. How can we co-exist with imperfections? how does the meaning of error change? How do errors make us more human? Future Humanity seeks out our 3. How can we become more human? visions and missions in correlation with technology,

other beings and ourselves. Voggeneder Florian

34 35 ERROR EXHIBITIONS the Art of Imperfection ERROR, FAKE & FAILURE ERROR IN PROGRESS

The theme exhibitions “Error, Fake & Failure” on the upper floor, “Error in Progress” in the basement and the “Himatsubushi Trail” on or under the roof landscape of Postcity occupy a central position in Ars Electronica’s extensive exhibition program. Error, Fake & Failure traces the phenomenon of error, spanning the interpretive frame from error as deviation from the norm and as failure or disappointment on the one hand and intentional forgery or deception on the other. Error in Progress expresses the ambiguity of its title, which not only alludes to the processual nature of trial and error and the open dynamics of the imperfect, but also the question of the errors, mistakes and aberrations of our progress - politically, socially and technologically. The exhibition reflects the broad, increasing unease with current developments and presents artistic work as an effective way of reformulating problems, changing perspectives and developing alternative concepts. EXHIBITIONS / Error, Fake & Failure — Error in Progress

Forensic Oceanography (CH/IT) and Forensic Architecture (UK) Mare Clausum As the EU’s policies of deterrence deployed since the Arab uprisings failed to stem migrants’ crossings of the Mediterranean, the Italian government — in collab- oration with other European governments and agen- cies – deployed a two-pronged strategy to close off the central Mediterranean: on the one hand, by criminaliz- ing and limiting the rescue activities of the NGOs that have stepped in to make up for the lack of state rescue operations; and on the other, by reinforcing the collab- oration with Libyan authorities and militias to prevent and intercept departures, thus physically containing migrants on the Mediterranean’s southern shore without requiring the direct involvement of Italian or EU authorities. This undeclared operation, which dra- matically escalated throughout 2017, is what Forensic Oceanography has called Mare Clausum (“closed sea” in Latin). Forensic Oceanography and Forensic Archi- tecture have investigated two cases central to this ongoing Mare Clausum research, The Iuventa and Sea Watch vs. Libyan Coast Guard, each concerning one of the dimensions of this policy which entails migrants being brought back to a country where their lives are endangered, and their human rights are systematically violated. These investigations have been made possi- a “code of conduct” that would have dangerously in Italy 59 passengers, at least 20 people died before ble by an exponential increase in video documentation limited their activities. The video presented here or during these events, while 47 passengers were by the different actors involved, allowing for a unique offers a counter-investigation of the authorities’ ultimately pulled back to Libya, where several faced form of 3-D-modelling of incidents developed together version of these three episodes, and a refutation of their grave human rights violations—including being with Forensic Architecture. accusations. detained, beaten, and sold to another captor who With the support of Borderline Europe, the WatchTheMed tortured them to extract ransom from their families. platform and Transmediale The unfolding of this incident has been reconstructed The Iuventa, June 18, 2017 in a video by Forensic Oceanography in collaboration Since the end of 2016, culminating in summer 2017, a with Forensic Architecture. To reconstruct the circum- growing campaign of delegitimization and criminal- The SeaWatch vs Libyan Coast stances of this particular ­incident, however, Foren- ization has systematically targeted NGOs engaged in Guard Case, November 6, 2017 sic Oceanography has produced a detailed written search and rescue. On August 2nd, the ship Iuventa, On November 6, 2017, the rescue NGO Sea Watch report which argues it is also necessary to understand of the German NGO Jugend Rettet (“Youth Rescue”), (SW) and a patrol vessel of the Libyan Coast Guard the policies that shaped the behavior of the actors was seized by the Italian judiciary under suspicion of (LYCG) simultaneously directed themselves towards involved, and the patterns of practices of which this “assistance to illegal migration” and collusion with a migrants’ boat in distress in international waters. event was only a particular instantiation. smugglers during three different rescue operations: The boat, which had departed from Tripoli a few hours the first on September 10, 2016, the second and third earlier, carried between 130 and 150 passengers. A Investigation by Forensic Oceanography and Forensic Architecture Video reconstruction by Forensic Oceanography and Forensic on June 18, 2017. The seizure came only days after the confrontational rescue operation ensued, and while Architecture NGO, along with several others, had refused to sign SW was eventually able to rescue and bring to safety Report by Forensic Oceanography

40 41 EXHIBITIONS / Error, Fake & Failure — Error in Progress

Forensic Architecture (UK) Ecocide in Indonesia

In 2015, fires in the Indonesian territories Kalimantan fires might push the world beyond 2ºC of global warming­ and Sumatra consumed over 21,000 square kilometers — and into the realm of potential and unpredictable of forest and peat lands. Fumes from about 130,000 calamities — faster than expected. The cloud can be local sources combined into a massive cloud, a few understood as the harbinger of a new international hundred kilometers long and a few kilometers thick. crime of ecocide, one likely to become more relevant It contained more carbon, methane, ammonium and in the years to come. cyanide than those produced by the entire annual emissions of the German, British or Japanese industries. Forensic Architecture As the acrid cloud drifted north and westwards, it Undertaken in collaboration with FIBGAR (Baltasar Garzón engulfed a zone that extended from Indonesia across and Manuel Vergara) Project team: Malaysia, Singapore, southern Thailand and Vietnam. Eyal Weizman (Principal Investigator), Samaneh Moafi Scientists estimate that this resulted in more than a (Project Coordinator), Jason Men, Christina Varvia, Nichola Czyz, hundred thousand premature deaths, and that the Nabil Ahmed and Paulo Tavares

42 43 EXHIBITIONS / Error, Fake & Failure — Error in Progress

Anatol Bogendorfer (AT), Hörstadt (AT) Esther Hovers (NL) Die Tonfälle False Positives

Can the tones of voice of an online linguistic culture the differentiation between what is said and how it’s The project False Positives is about intelligent be examined and portrayed artistically? In this project, said—for instance, in terms of the parameters of the ­surveillance systems. These are cameras that are Hörstadt scrutinizes the inflections and the culture tone of voice such as pronunciation, sound, timbre, able to detect deviant behavior within public space. of conversation and argumentation manifested in volume and intonation. False Positives revolves around the question of normal internet forums. This is done primarily pursuant to On the basis of the postings containing hate speech behavior. It aims to raise this question by basing the an acoustic-phenomenological analysis. In concrete that we have been given access to, Anatol Bogendorfer­ project on eight different ‘anomalies’. These so-called terms, what we are investigating here is hate speech of Hörstadt and actress/voice-over artist Maria Fliri anomalies are signs of body-language and movement posted to the sites of various Austrian journalists — jointly investigate the phenomenon of language that could indicate criminal intent. It is through these e.g. Armin Wolf (ORF—Austrian Broadcasting Com- changing its medium from writing to sound. The result anomalies the algorithms are built and cameras are pany), Hanna Herbst (Vice Magazine), Rainer Nowak takes an audiovisual form. able to detect deviant behavior. The eight different (Die Presse newspaper). anomalies were pointed out to me by several intelli- Postings containing hate speech are usually formu- Concept: Anatol Bogendorfer (AT) / Hörstadt gent surveillance experts with whom I collaborated for lated in writing. Linguistically, however, they are Producer: Hörstadt Team (Androsch, Bogendorfer, Knipp, Saftic) this project. The work consists of several approaches, Director: Anatol Bogendorfer closely related to an oral—and thus to an acoustic— Cast: Maria Fliri photographs and pattern drawings. All together, these culture. This is so not only because they can be asso- Cameraman: Christian Dietl form an analysis of different settings in and around ciated with the so-called Affektsprache (language of Sound Engineer: Alex Jöchtl the business district of the de facto European capital: the emotions). Things like anonymity, invisibility and Set Designer: Tabea Cray Brussels. Location: Quartier spatial distance also have corresponding expressions Editor: Anatol Bogendorfer Supported by Mondriaan Fund in acoustic space. What can likewise be expressed is Support: Las Gafas Film, Retro Goldmine Film, Vilo, Quartier

44 45 EXHIBITIONS / Error, Fake & Failure — Error in Progress

Michael Saup (DE), Andrea Winter (DE), Andreas Erhart (DE) +b (ORBIT)

+b (ORBIT) shows Buckminster Fuller’s Dymaxion this mastery is really the reiteration of a profound error Map of the earth built from multiple layers of white and the subsequent compounding of that error. We industrial sugar cubes and illuminated by the complete keep on making mistakes. Some of these errors are sequence of all nuclear explosions from 1945 until extraordinarily beautiful and useful, some are terri- now. Using the cubes as three-dimensional pixels, +b fyingly destructive with long-term planetary impact, emphasizes the intimate relationship between infor- and many are both. mation, energy, resources and their impact on society and nature. +b stages the most extreme power Co-produced by Trans-Media-Akademie Hellerau e.V. released by humankind, irreversibly transforming the with the help of The Buckminster Fuller Institute, die wellen­ atmosphere and igniting the epoch of the nuclear maschine, Silke and Uwe Buhrdorf, Shuichi Fukazawa, Ulf Langheinrich, David McConville, Robert W. Gray, Knut Bressgott, Anthropocene with its application and supposed Karolina Funk, Acci Baba, Endre Ketzel, Li Alin, Nicole Pesant mastery of atomic power. The work illustrates how Méalin, Rosa-Lee Sendlinger, Nadine Bors and openframeworks

Quayola (UK/IT) Remains

Remains is an ongoing project focusing on nature and the tradition of landscape paintings. High-precision laser scanners are used to capture natural landscapes at vast resolutions, resulting in complex digital ren- derings printed on large-format archival paper. The combination of highly detailed geometric reconstruc- tions and the imperfections of the 3-D-scanning pro- cess ­create hybrid formations, somewhere in between the real and the artificial. While recreating similar conditions to ‘en plein air’ painters of the late 19th century, the natural landscapes are actually observed and analyzed­ through extensive technological appara- tuses, and re-purposed through new modes of visual synthesis.

A project by Quayola Commissioned by Audemars Piguet Supported by TECHquadrat Werbetechnik GmbH Courtesy of the artist and Audemars Piguet

46 47 EXHIBITIONS / Error, Fake & Failure — Error in Progress

Isaac Monté (BE), Toby Kiers (US) The Art of Deception

Humans use deception to achieve perfection in society, purposes? The discarded dead hearts will not function art and science. Reacting to this through art, we have as canonical organs, but rather as a representation of taken discarded pig hearts and transformed them into how far science can manipulate the human body. elegant vessels for new life by decellularizing them and re-populating them with various techniques, into In collaboration with Professor Toby Kiers (Free University

Isaac Monté, Toby Kiers, © Hanneke Wetzer Kiers, © Hanneke Toby The Art Isaac Monté, of Deception, aesthetically improved hearts for humans. Amsterdam), Commissioned by Bio Art & Design Awards, with Decellularization marks a new era of synthetic biology— the support of ZonMw (The Netherlands Organization for Health organs are stripped of their cellular contents, leaving Research and Development). behind a sterile scaffold that can be repopulated with Special thanks to: ZonMw, NWO, BioArt Laboratories, MU, stem cells. While the medical utilization of this resource Waag Society, Dr. Renée van Amerongen – Swammerdam Insti- is being realized, the artistic and creative value of tute for Life Sciences, Dr. Monique Verstegen – Erasmus Medical ghost organs represents unexplored territory. With this Center Rotterdam, Yvonne Steinvoort – Erasmus Medical Center collection of 21 transformed hearts we explore how Rotterdam, Dr. ir. Jos Malda & Kim van Dorenmalen – University Medical Center Utrecht, Professor Paul van der Valk - Vrije Uni- biological interventions and aesthetic manipulation versiteit Amsterdam, Simon Dupin, Riet Vooijs, Galerie PUUR, can be used as tools for the ultimate deception: the Lise Lefebvre, Suzanne van Beest, Bram Geers, Rodrigo Leite transformation of inner beauty, from grotesque to de Oliveira, Gonçalo Sousa Pinto, Myriah Lesko, Dario Tortorelli, Rosita van Audenhove, Monica Monté, Job Taks, Gera Bikker, Iza perfect. Can the ghost organ be a blank canvas for Stepska, Elise Marcus, Levi Baetens, Pushpi Bagchi, Gabrielle designers? Can organs be objects of design? Will Kennedy, Remon van Droffelaar, Willem Velthoven and everyone humans be able to manipulate organs for aesthetic who has supported me in one way or another. Monica Monté Monica

48 49 EXHIBITIONS / Error, Fake & Failure — Error in Progress

Marco Donnarumma (DE/IT), in collaboration with Neurobiotics Research Laboratory (DE) and Ana Rajcevic (DE/UK) Amygdala

Amygdala is an installation exploring the essence of sensorimotor system of mammals. Thus, the robot humans’ expectations and anxieties over artificial learns by doing; it teaches itself the cognitive and intelligence (AI) and robotics. It reanimates a key physical discipline required to perform the ritual. symbol of human collective history—an ancient ritual of purification—through the glare of today’s techno- cratic society. An artwork by Marco Donnarumma in collaboration with Neuro- An AI robot in the form of an uncannily human-like botics Research Laboratory (DE) and Ana Rajcevic Studio (DE/UK). limb is nested inside an industrial-grade server cabinet. Concept, research, artistic direction and programming: Marco Donnarumma The same cabinet used in computer server farms. Additional programming and research: Prof. Alberto de Campo Named Amygdala, the robot uses a sharp steel knife Scientific advisor: Prof. Manfred Hild to sculpt a large piece of skin. Its labor is careful and 3D modeling and printing: Christian Schmidts ­never-ending. The robot’s only aim is, in fact, to learn Exhibit design research: Rosalie Laurin Photography: Margherita Pevere, William Veder, an animistic ritual of purification known as “skin-cutting.” Marco Donnarumma The robot’s movements are not pre-programmed, but Co-production: Retune Festival

emerge interactively from particular neural networks Funding: Berlin University of the Arts, Graduiertenschule Gallery Kapelica and Fras Miha called “biomimetic adaptive algorithms”. Funding: Einstein Stiftung In kind support: Berlin Center for Advanced Studies in Arts These algorithms, used in humanoid robotics devel- and Sciences Mojca Založnik (SI) opment and programmed by Donnarumma, mimic the In kind support / Dissemination: Baltan Laboratories Infinite In-Between

In the project Infinite In-Between the author discusses In the ­scientific experiment “double-split experiment,” the intermediate field between objectified medical scientists confirmed that the atom acts differently diagnosis and anomalies that avoid this enforced if we view it. If the atom is not watched, it behaves objectivity. The viewer observes the culture of cancer as a wave and otherwise as a particle. This quantum cells and the artist’s cells in incubators, which conven- paradox is also known in quantum biology, from which tional diagnostic practice explores using standardized Založnik draws inspiration for the artistic layout, in procedures, laid down by scientific protocols. On the which the visitor with his/her presence and perception basis of defined values, a grade is given to the aggres- impacts the development of cell culture. siveness of the cancer cells in the patient’s sample, in the case of the non-cancerous cells, the sample is analyzed using a flow cytometer. The test environ- Production: Kapelica Gallery / Kersnikova Institute Technical solutions: Kristijan Tkalec ment of the artistic project of monitoring cell cultures Programming: Blaž Berdnik, Matic Potočnik is carried out intuitively, using sound and focused Light design: Jure Sajovic beams of light that make perceptible something that Acknowledgment: Maja Čemažar—Phd, Bsc Biol, Veronika is otherwise undetectable or uncatchable. In quantum ­Kloboves Prevodnik—Phd, MD, Mira Lavrič—lab technician, Simon Buček—Bsc Biochem mechanics, it is accepted that measurement “does Support: The Ministry of Culture of the Republic of Slovenia, something” to the object being evaluated. The Department of Culture of the Municipality of Ljubljana

50 51 EXHIBITIONS / Error, Fake & Failure — Error in Progress

Haruo Usuda (JP), Matt Kemp (AU) The Artificial Uterus Life support platform for extremely preterm babies

Despite profound improvements in outcomes for preterm infants born at later gestational ages, there have been only modest improvements in outcomes for babies born below 24 weeks’ gestation over the past two decades. If we are to improve outcomes for infants born at the border of viability, we must recognize that they are not “small babies;” rather, they are a unique patient demographic that requires an entirely different treatment approach from older preterm infants. One opportunity to improve outcomes for these infants is a non-pulmonary life support system that will allow for the healthy survival of extremely preterm babies. In our Artificial Uterus platform, gas exchange is performed by a sophisticated artificial placenta ­connected directly to the fetal umbilical cord, with circuit perfusion driven solely by the preterm fetal heart. The present aim of this work is to bring to clinic a functioning life-support platform for infants born at the current border of viability. OPN Studio – Susana Ballesteros (ES), Jano Montañés (ES) We wish to gratefully acknowledge the generous support provided by the following collaborating institutions and funding Give my creation...Life! partners: Tohoku University (http://www.tohoku.ac.jp/en/) Women and Infants Research Foundation (https://wirf.com.au/) Give my creation… Life! is based on the generation of simulation device, which captures and feeds on the Nipro Corporation (https://www.nipro.co.jp/en/) energy through the heartbeat, with the aim of grant- generated energy to give life to a machine. Government of Western Australia Department of Health (http://ww2.health.wa.gov.au/) ing autonomy to a machine. Issues such as extending All this is accompanied by a more theoretical part, University of Western Australia (https://www.uwa.edu.au/) a removed organ´s life, feeding it nutrients artifi- which introduces the project through stock footage Channel 7 Telethon Trust (https://www.telethon7.com/) cially, and using it as a source of natural energy were concerning experiments and investigations in relation addressed during the research. The result of the study to extracorporeal circulation throughout history. is a series of experiences materialized in an audiovisual Supported by: with images taken from an experimental operative Etopía, Center for Art and Technology procedure carried out at CIBA (Centre of Biomedical Cooperation partners: Research of Aragón), reinforcing the project’s narra- CIBA (Centre of Biomedical Research of Aragon) tive. The material conclusion of the process developed BIFI (Institute for Biocomputation and Physics of Complex Systems) during the study embodies the goals, advances and EBERS Medical Technology outcome of the investigation. It is a heart rhythm Zaragoza University

52 53 EXHIBITIONS / Error, Fake & Failure — Error in Progress

Yunchul Kim (KR) Triaxial Pillars II and Argos

The mechanical and fluidic events in Triaxial Pillars II and black hollows and shiny structures of metallic are implicated in cosmic events which come through ­filaments are formed. Particles, fluid, machines, other Argos. Triaxial Pillars II is a fluid kinetic installation objects, and humans are interwoven in this work. which consists of multiple planetary, helical struc- It expands the spacetime of works, the reality of tures with 23 axes, a double acrylic cylinder filled with materials, materiality and even its meanings. Those nano-sized photonic crystals, and Argos is a cosmic material imaginations that come through the matter, ray detector which consists of 41 channels of Geiger or into matter, provide us with an affective material Müller tubes. When muon particles collide with Argos, poetry that allows us to transcend the restrictions of it flashes a light and transmits signals to trigger the language. It becomes reality through its materiality. algorithm of fluidic movements in Triaxial Pillars II. Argos was developed as part of the Collide International Award, This magneto-hydrodynamic action causes the mass a partnership programme between Arts at CERN and FACT and of moving tiny particles to scatter and ­converge, was co-produced by ScANNER. Bea Haines (UK) Heavenly Bodies Backlit Scanning Electron Micrographs of Human Gallstones

When my grandmother died, I inherited tiny gallstones removed from her body. Grotesque to the outsider, these nuggets of bodily imperfection became precious relics to me. Like the heavily adorned relics found in Catholic churches, my aim was to present the stones in a different light, replacing disgust with a sense of reverence. To visualize these minute forms, I chose to use science as an equivalent contemporary power to religion. Heavenly Bodies was created by using a Scanning Electron Microscope to visualize the detailed topography of the stones’ surface, transmuting them into objects of celestial beauty. Body stones (or calculi) are formed by the build-up of mineral salts within the body. Like comets or pearls, they are accidental waste products of the body, or as nurses used to call them, “tombstones to dead bacteria”.

With the support of Imperial College London

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Cod.Act (CH) πTon

πTon is an intriguing sound installation; it constitutes curiosity of the four human beings and become the a new stage in the Cod.Act research into plastic and subject of primary and sophisticated polyphonic rituals sound organicity. It results from an experiment on the only constituted by synthesized voices. relation between the distortion of an elastic structure From raw materials and natural physical phenomena, and the synthetic transformation of the human voice. πTon associates organic movement and vocal expres- A long rubber tube, closed in a loop, is animated by sion in their most primitive forms. The result is a strik- contortions and undulations like an invertebrate body. ing sound and visual event that sends the spectator Surrounded by a group of four dumb human beings back to the origins of his behavior. equipped with strange vocal prostheses, the creature seems to try to release itself from this disturbing presence in vain. Its efforts and sufferings excite the Cod.Act is Michel and André Décosterd (CH) Takayuki Todo (JP) SEER: Simulative Emotional Expression Robot

SEER is a compact humanoid robot developed as I think it is possible to represent human-like communi- results of deep research on gaze and human facial cations by constructing an adequate interaction system expression. The robot is able to focus the gaze direc- between emotional sensing and expressions. If we tions on a certain point, without being fooled by the understand and identify with robots that can learn movement of the neck. As a result, the robot seems the functions and usages of emotional expressions as if it has its own intentions in following and paying from interactions with people, get a good command attention to people and its environment. of them accordingly with situations and context, could Using a camera sensor and eye tracking, it has an inter- we distinguish them from those with real minds and active gaze. In addition, by drawing the curve of the emotions? eyebrow using soft elastic wire, I was able to enrich As the first step to realizing this, I thought two condi- the emotional expression of the robot. tions were necessary: the eyes to detect the appear- The purpose of my research and development is not ance of another’s face, and the face to be made to answer the philosophical question “Will a robot (or appealing to the viewer’s eye. computer) obtain a mind or emotions like mankind?” Technically supported by Takanari Miisho, Yuki Koyama Xavier Voirol Xavier but to portray the sense of conscious human emotion.

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Ben G. Fodor (HU/AT) Yuki Anai (JP), Hideaki Takahashi (JP) CARMINE in the rain

In a darkened exhibition space, a black cube equipped Nature is a truth. It is often more than meets the eye One day, I was at home watching heavy rainfall. At with special glass-optics projects lines and points of because there are some things in nature that are in­­ that moment, I remembered another rainy day and my carmine-red laser light onto the space’s walls. Several visible to the human eye. But that doesn’t change the mind recalled the view, the surroundings, my feelings of the points oscillate and move about randomly due fact that they exist. and so on. I felt like I was communicating with my to a hanging chromium steel sheet that’s spun by the Rain has a variety of expressions: light rain, heavy past self. Then, I realized that rain is a medium which air currents generated by installation visitors moving rain, sun showers, etc. Sometimes, rain is revered as is deeply linked to people’s memories. Creating a rain- about the space. Fodor is also exhibiting images that a blessing from heaven. Other times, it is disliked as a filled world, my “rainy world,” may help open the door were “painted” in his atelier with the laser tool used natural disaster. Rain is just rain, but its interpretation to people’s pasts. in the installation. The traces of the moving light were depends on the context. I believe rain is beautiful, but captured photographically through the use of time some people feel blue when it’s raining. So, it is my exposure. Fodor brilliantly employs this technique desire to express how rain is beautiful and how nature Yuki Anai: Concept, Visual Design, Programming to create immaterial architectures consisting of lines has a message for us. Hideaki Takahashi: Sound Design and surfaces that open up a space of indeterminate dimensions. This cycle takes its place in Fodor’s artis- tic investigation of utopias and dystopias. His works in recent years have revolved around the sociopolitical question of new “utopian” horizons—a reinvention of utopian thinking.

Ben G. Fodor, Sillyconductor, Marcello Farabegoli Projects & ARCC

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Martin Hesselmeier (DE), Andreas Muxel (AT) the weight of light

Light, as we usually interpret it, is an element with- out mass and gravity. For the weight of light, dots of light appear to have mass, momentum and kinetic energy on physical paths. One simulates the expected behavior while the counterpart inverts gravity, causing us to experience a fictional space of light. The instal- lation plays with our sense of reality and emphasizes the materiality of immaterial elements in a revol­ving reality which overcomes the dualism of “virtual” and “real.” Therefore the weight of light goes beyond what is expected; the matter of light traverses a re-inter- pretation of our known reality. Each moving light dot is underlined by an auditive representation in the Navid Navab (CA/IR) low-frequency range. Phenomena of standing sound waves and frequency interferences support the shape waved structure. This creates an immersive space tangibleFlux φ plenumorphic where the movement of light is also represented by chaosmosis vibrational patterns of oscillating sound waves. the weight of light by Martin Hesselmeier, Andreas Muxel Physics engine development: Micha Thies tangibleFlux φ plenumorphic chaosmosis is a of hallucinatory forms. Eventually the kinetic event sensorial installation inhabited by the playful onto- unveils messy realness: things doing… stuff seeking genesis of vibrant patterns. Participants encounter the a minimum-energy state under magnetic flux, dis- organic formation of temporal textures, which emerge solving into upheavals at the edge of chaos. Sensually from continuous material-energy fields. In search for binding, spatially confusing, and temporally unset- excitable mysteries of matter at the borders of table- tling, tangibleFlux pulls everything into immediate top astrophysics and natural fiction, three microcosms vibrational relation with its vertiginous ritual.

orchestrate states of sensory access to the phenom- Navid Navab: concept, direction, audiovisual design, enological emergence of order out of chaos. This is composition, fabrication, programming, electronics, physically investigated through collaboration with sculpture, technical design non-linear forces of complex harmonic motion. Each Ceramic artist (microcosm no.3): Marie Côté Programming assistance: Evan Montpellier microcosm engages unique entanglements: between Fabrication collaboration: Studio Robocut (Montreal), pattern and uncertainty, orbital resonance and topo- SceneArt (Slovenia) logical semblance, percepts and the stuff of forms. Design consultants: Garnet Willis, Tatev Yves Patterns of interaction between magnetism, gravity, Research collaboration: Topological Media Lab Special thanks: Michael Montanaro, Nima Navab, Peter van matter, and light evoke the behavior of the cosmos Haaften, Bruiser Bruce, Ashley Obscura, Robertina Šebjanič, at large, always spiraling into an improvisatory dance Miha Colner, MGLC (Ljubljana), Lina Dib, Harry Smoke

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Stefan Mittlböck-Jungwirth-Fohringer (AT) The Bien

Bees are fascinating beings. Bees have always been manifested in the work The Bien. Dealing with the a motif and metaphor in artistic works. The colony topic of transformation, the work is a representation offers a huge amount of visual impressions: bees at of the progression from a living, animated colony to an the entrance with their different tasks and activities; empty, found hive, which is caused by “colony collapse Keizou Kioku Keizou the comings and goings and flights of bees; a honey- disorder” (CCD). comb full of nursing bees in brood care; the transfer of Transformation and deconstruction are also made nectar or pollen from homecoming bees; the intriguing visible in the process, which the “supposedly” empty honeycomb construction and the aesthetics of the bee beehives are exposed to throughout the year. Through itself. the description of the remaining environment of the Due to the death of many bee colonies, the absence organism of The Bien, a portrait of this fascinating of the bee was the focus of the artistic research that being is created. Ryohei Tomita Ryohei

Shun Owada (JP) unearth / Paleo-Pacific

unearth / Paleo-Pacific is a project that explores the CO2 is stored in these fossils (limestones). Dripping fundamental elements of sound: the atmosphere and dilute acid onto them causes the fossils to melt, and time. The work utilizes limestone produced through releases CO2 into the space. Standing in front of the the fossilization of fusulina, small marine organisms speaker, viewers can listen to the extremely subtle that vanished during the greatest mass extinction sound of fossils melting. The work questions how we 250 million years ago. Fusulina formed their bodies by can or cannot sense the aspects of time beyond the biological fixation of CO2 in the sea. Which means that human scale by listening to sound.

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Joana Moll (ES) DEFOOOOOOOOOOOOOOOOOOREST

DEFOOOOOOOOOOOORESTshows the number of trees This project has been created with the aim of high-

needed to absorb the amount of CO2 generated by the lighting the massive environmental impact of ICT. In global visits to google.com every second. Google is our contemporary algorithmic decision-making society,­ the most visited site on the Internet. The site has an ecosystems are being increasingly considered as mere average of 52,000 visits per second and weighs around economic externalities, thus it is urgent to generate 2 MB, resulting in an estimated amount of 500 kg of critical thought about the true nature of technology

CO2 emissions every second. On average, a tree can in order to imagine alternative techno-paradigms, Rasa Smite (LV), Raitis Smits (LV), RIXC (LV), MIT ACT (US) absorb 21.77 kg of CO2 per year. Thus, in order to coun- which may coherently respond to our environmental

teract the amount of CO2 emissions caused by the and human conditions. global visits to google.com every second, we would Swamp Radio need approximately 23 trees/second. Cooperation partner: Ramin Soleymani

Swamp Radio takes on the challenge of giving a voice the various ecosystems — from bogs near Riga in Latvia,­ to many who are unheard and invisible. The swamps, and marshlands of the Boston area in Massachusetts, these vast wetlands with their ancient ecosystems, to wetlands in Venice, Italy. Using LoRa radio technol- are like time-capsules. ogy, during the Ars Electronica festival, data from the Yet they are also key players for providing a variety of local biotope and ecosystem monitorings on the roof ecological services for our modern society. Escaping of the festival building will be transmitted live in the from intensive agriculture, the swamps contain dor- exhibition space, creating real-time audio-visual inter- mant resources, and myriad other species, with whom ferences and immersive sound experiences. we share life on this planet. Credits: Nicole L’Huillier / MIT Media Lab, Gary Zhexi Zhang / Artists have been installing microbial fuel cells, MIT ACT, Kristaps Biters / RIXC, Dr. Reinholds Zviedris / LU. environmental monitoring sensors and data trans- Support: RIXC, RISK CHANGE—Creative Europe’s project, MIT mission networks to explore the sonic environment of ACT, Swamp School at the Venice Architecture Biennale 2018

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Ryo Kishi (JP) ObOrO

Since early times lights have attracted people, and and fascinates people with its frailty and instability. Kathrin Stumreich (AT) people have gathered spontaneously around lights. ObOrO is based on the Coandă effect. Levitating balls Especially lights that have fluctuations, such as a sky are suspended in midair, not with strings or wires, but lantern, the moonlight or the light of a flame, fasci- only with an airstream. In midair, the levitating ball Sovereignty nate people. We feel compelled to put our hands above spins with instability. robotic sound installation them. Fluctuations of light are not under our control, Users can physically touch and feel zero-gravity­ so they can express wonder in frailty and instability. ­materials, and change its motion by putting their The focal point is a translucent flag; its movement these aesthetics, the robotics of the flag choreography ObOrO is a fragile kinetic light that has fluctuations hands above the airstream. ­choreography is controlled by complex robotics. Sovereignty was programmed to run in a 9-minute Beyond the flag´s operation range, a laser and a light loop. Marked by sharp laser beams, elements asso- sensor are positioned. When the laser and fabric­ ciated with sovereignty (as the title implies) can be collide, sound is created. This work’s poetry lies in found, such as leeway, a change of direction, or a drop. the apparently random combinations of floating silk and gritty sound. Underlying this is Stumreich’s Robotics: Adam Donovan (AU) precise audiovisual composition. Every drape has Programming: Christoph Freidhöfer (AT/DE) been ­analyzed on the basis of its sound. According to Exhibition Support: Bildrecht Ryo Kishi Ryo ObOrO, ObOrO, 66 67 EXHIBITIONS / Error, Fake & Failure — Error in Progress

Mathieu Zurstrassen (BE) I Love you / I Hate you _TDS* Trump Derangement Syndrome / impartiality bot

In 1980, the self-proclaimed “Doctor” Masaru Emoto “Love Quotes” tweeter account on the other. Every 25 placed identical portions of cooked rice in two different seconds and by intermittence, a digital voice reads the containers. On the first one he wrote “thank you” and tweets to the two beakers containing cooked rice. The on the other “you idiot.” He then asked school children installation addresses the theme of popular beliefs to read the text on the jar’s labels aloud every day as and the worrying success of unverified data available they passed by. After 30 days, the rice in the container online as well as the manipulation of these pieces of with positive thoughts appeared barely changed, while information. the other became black. The automated installation tries to reproduce this famous rice experiment. A The work has received the support of “La Fédération Wallonie-Bruxelles” computer gathers all the tweets posted by the current http://www.federation-wallonie-bruxelles.be/ President of the United States on one hand and by a Programming of the RPI: Martin Pirson Daria Jelonek Jelonek Daria

Anna Ridler (UK) Wikileaks: A Love Story

Wikileaks is a complex system trying to balance ­freedom of information against the right to know. This installation shows this collision of public and ­private that sits at the heart of the Wikileaks project. Stacks of printed paper — tens of thousands of emails and documents and photographs — show the macro political machinations that most people assume are being revealed by the database. However, when an iPad is placed above the top of the papers a hidden narrative is revealed to the viewer, a deeply personal love story of a couple who fell in love and then broke up, all found in the emails that were released as part of a data-dump, collapsing this collision of public and private.

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Friedrich Boell (DE) Dead Pixel

The installation consists of eight panels of acrylic glass which hang on a steel frame. 24 IPhone displays are glued onto each panel. Their backlights are controlled individually and cyclically play back an abstract light animation. Since the displays are based on the IPS technology, they would normally block all light when having an image signal. Therefore, I have destroyed the polarizing filters, causing the light to emit in uneven artefacts from the cell phone screens, creating irregular textures.

Friedrich Boell, KHM Academy of Media Arts Cologne. Many thanks to Georg Trogemann, Martin Nawrath, Christian Faubel and Karin Lingnau.

Alexandra Ehrlich Speiser (AT) Useless Weapons Series corrupting abstract violence

A glitch is an “error” in a system. Audio files with a error and malfunctions. 3-D datasets are available in broken tune, videos with corrupted images or sounds, the dark web. Just 3-D-print your favorite weapon! colorful pixels which disguise and manifest them- Alarming fact: the ubiquity of destructive murder selves in the image. In our digital life we encounter weapons will increase rapidly. Based on this thought, such malfunctions on a daily basis. the artist had the inspiration to take over data sets of Algorithms get confused. Computers seem to have a S&W handgun, an AK47 and a grenade to glitch them grabbed ahold of their own life. Glitches arise, almost and make them useless. She has given material form like the spirit of the machine, emerging from the to her abstract sabotages and their ability to affect depths just to say “hello” in their own form on the the equally ethereal file, and in turn the dangerous

Frankie Macaulay, 2018 2018 Macaulay, Frankie ­surface. “Glitch art“ celebrates the aesthetics of the and threatening original.

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Mr. Erbil (IQ), Volker Kreidler (DE), WISP Collective — Nabeel (IQ), Nani Cooper (DE) The Third Room

There is no region of the world from which we receive want to preserve or throw overboard? Is there an more media coverage than the Middle East. The intelligent way of globalization in which the positive images are of places completely destroyed by war. aspects of mixed cultures can be conserved and neg- Some may still remember that the cradle of our culture­ ative ones abolished? Do similarities lead to mutual lies between the Euphrates and Tigris. However, it is understanding instead of differences to distrust? In nearly impossible for most people to imagine that pictures, in sound and video, with artists from Iraq, between bomb attacks and ruins there exists young, Kurdistan and Europe, we will tell a story. contemporary art which continues to develop, which Goethe Institut Erbil both attaches importance to the preservation of its Engineers without borders Austria culture and seeks connection to the Western world. C.Rockefeller Center, Dresden Galerie Genscher We move at the borders of cultures, the past and the Riso Club Leipzig future. What of humanity remains, what do people Nani Cooper

Foundland Collective — Lauren Alexander (ZA/NL), Ghalia Elsrakbi (SY/NL) Real-time History

Foundland Collective reveals an on-going collection Syrian civil war, despite there being no confirmed of social media evidence related to the conflict in proof. We live in an age where errors in news cover- Syria, sharing projects developed in 2012 and 2018. age can have huge consequences. These errors can be They focus on variable interpretations of media and caused by deliberate manipulations, out of negligence, generally assumed “truth” and how it is dependent or because quality journalism and news reporting are on context, framing and intention. A recent case study under pressure. By using subjective methods of anal- deconstructs 2018 “chemical weapon attacks”, as they ysis, they slow down specific key images and details are labeled in Western media, as being an important to allow for critical reflection. and complex example, since these events have been the grounds for recent Western intervention in the Co-produced by the Impakt Festival, Utrecht

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Alexander Peterhaensel (DE) Smile to Vote—Political Physiognomy Analytics

Against the backdrop of currently trending AI-driven EU Parliament elections by simply looking into a political campaigns, Smile to Vote escalates the latest ­camera. The work confronts us with the implications research findings in the field of psychometrics and for political ­processes as well as for our understanding merges them with the worry-free large-scale imple- of self-determination and freedom of will, once privacy mentation of facial recognition systems in lifestyle is phased out for good and predictability of our behavior products and daily business processes. The concep- through IT systems becomes ubiquitous. tual art work, which spans multiple media, portrays Artistic Direction: Alexander Peterhaensel the fictitious GovTech startup Smile to Vote and its Executive production: audiovisual architectures lab cutting­-edge product of the same name: an ultra-ef- Software Development: Julian Netzer ficient e-voting booth. By means of AI-based facial Graphic Design: Christopher Höhn Carpentry: Konstantin Hildebrandt scanning, the e-voting booth gauges the political Cast: Anna Anders, Julian Netzer Martin Hertig (CH) conviction of any given person and emulates the pro- Voiceover: Adam Gardiner cess of digitally casting a vote at the upcoming 2019 ­ Support: University of the Arts Berlin Sensible Data

Sensible Data is an interactive installation consisting This information is then stamped onto the card letter of three machines that invite you to create a pass- by letter. By pressing a dubious button, you will get port from your personal data. First, take a picture of the finishing confirmation stamp. Thank you for your yourself using a smartphone. A drawing machine will contribution! Offering fun in exchange for personal automatically sketch your portrait onto the card. Send data, this project encourages us to explore questions an email to the machine that triggers the portrait to about confidence in data collecting systems. be processed on an online facial recognition service to judge your mood, age, gender and beauty. Made at écal

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Mario Klingemann (DE) 79530 Self Portraits Neurographic Feedback Loop

This work explores how a feedback loop of generative the artist is mixed into the loop in varying degrees, adversarial neural networks (GANs) is transforming ­disturbing and changing the face markers. errors into meaning while at the same time confirming Since all the models’ knowledge consists of faces they and emphasizing biases in the training data. will gradually transform any kind of incoming data, Three GANs and a camera form a closed chain in which even noise, into their parameter space. The models’ they interpret and transform the input they receive misinterpretations of small errors accumulate due to amongst each other. Each model has been trained the closed loop, while at the same time the errors and on thousands of painted “old masters” portraits har- imprecisions introduced during the generation process vested from various European collections. One model’s prevent the system from ending up in a static state purpose is to generate a biometric semantic map of and result in a fluid creative process that traverses the all faces found in an image, another model translates possibility space of the system. these maps back into portraits, a third model adds details and texture to the result. A camera filming http://quasimondo.com

Rachel Ramchurn (UK), Richard Ramchurn (UK) The MOMENT A Brain Controlled Movie

The MOMENT is an interactive film which uses a Brain Computer Interface to collect attention data from the viewer that is recombined into a real-time narrative. Each time the film is watched the rhythms of the view- er’s brain data create a new narrative combination; in total there are 18 billion possible combinations. The MOMENT is the second brain-controlled film from writer and director Richard Ramchurn.

University of Nottingham Horizon Centre for Doctoral Training EP/GO37574/1 EP/LG15463/1 Digital Economy Arts Council England

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The Agency for Cultural Affairs, Government of Japan screenings, presentations and so on are arranged at organizes participation in various overseas media overseas media arts festivals and other facilities with arts festivals etc. The aim is to introduce outstand- their focus on award-winning works from the Japan ing works in such fields as media art, video, websites, Media Arts Festival. videogames, animation and comics. Exhibitions,

Tomoya Sasaki (JP), MHD Yamen Saraiji (SY) MetaLimbs 21st Japan Media Arts Festival, award winner Entertainment Division

MetaLimbs adds “new arms” that can be freely the legs. These robotic arms can provide functions that manipulated by strapping on two robotic arms. The surpass human physical abilities by replacing the end robotic arms are worn on the shoulders, and sensors of the robotic arms with tools such as a soldering iron. placed on the top of the feet and the knees of both As trends in technology transition from prosthetic right and left legs track the movements of the legs to human enhancement technology, the question to move the arms. Moving the toes moves the robot is raised as to how technology will change human hands, which are equipped with tactile sensors, and physical sensation. the sensations of the robotic hands are fed back to

Industrial JP (JP) INDUSTRIAL JP 21st Japan Media Arts Festival, award winner Entertainment Division

Risako Kawashima (JP), Yasuaki Kakehi (JP) INDUSTRIAL JP is a music label that creates and dis- constant rhythm that is presented in beautiful sound tributes musical compositions and music videos by and video. Establishment of the label was motivated Anima re-editing video samplings of machine tools in oper- by a strong sense of the impact of dwindling domestic ation and field recordings of sound in small factories industry caused by globalization. The label aims to located here and there in Japan. Numerous musicians help boost domestic manufacturing by communicat- We often use the phrase “breathing life into.” The on the light socket. The soap bubble works as a part of and factories producing springs, screws, and the ing the excitement of small factories in Japan. The ­target of this phrase can also be an artificial object like an electronic circuit in this system. like collaborate to produce club music out of analog website features interviews with the various factories a digital device. In our work called Anima, we literally These interactions caused by the bubbles are based sounds of machine tools at work. Seven works have and has become a platform for sharing the advanced utilize our breath as an interface to activate a lighting on an unstable, ephemeral phenomenon and look been released as of March 2018. The reverberating technological capabilities of small factories and the system. In this installation, the participant creates a random. However, through the interactions derived sounds of operating machines and gleaming, well- appeal of state-of-the-art products crafted by that soap bubble using a straw. When he or she puts the from our breath and actions, we might be able to oiled machinery in motion continuously construct a technological power. bubble underneath a light socket, the light bulb starts find some meaningful relations between the artificial to be activated. While the bubble lasts under the bulb, objects and ourselves. the light stays on. However, when it bursts, the light Direction: Yasuaki Kakehi turns off just after it. Technically, this work utilizes the Device: Risako Kawashima conductivity of soap bubble film to detect its existence Research: Risako Kawashima, Shiho Hirayama and Yasuaki Kakehi

MetaLimbs INDUSTRIAL JP

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Chen Chen (CN), Qifeng Chen (CN), Vladlen Koltun (US) Learning to See in the Dark Peter van Haaften (CA), Michael Montanaro (CA) Imaging in low light is challenging due to low ­photon Using the presented dataset, we develop a pipeline count and low SNR. Short-exposure images suffer for processing low-light images, based on end-to-end from noise, while long exposure can lead to blurry training of a fully convolutional network. The network Spiel | an in-situ performance for images and is often impractical. A variety of denois- operates directly on raw sensor data and replaces ing, deblurring, and enhancement techniques have much of the traditional image-processing pipeline, prepared mouth been proposed, but their effectiveness is limited in which tends to perform poorly on such data. We report extreme conditions, such as video-rate imaging at promising results on the new dataset, analyze factors While absorbed in conversation you notice a stranger night. To support the development of learning-based that affect performance, and highlight opportunities approaching. With a curious instrument affixed to pipelines for low-light image processing, we introduce for future work. their face the visitor leans in, and listens. The mouth a dataset of raw short-exposure nighttime images, opens, patterns of rhythm and sound emanate from with ­corresponding long-exposure reference images. University of Illinois at Urbana, Champaign Intel Labs within: voices recognizable as your own. Spun out of focus, words reveal their ingrained subtleties as the collector of conversation captures the sentence but not the sentiment. Vocal exchanges are recalled and reflected. Voices are transformed by physical formant inflections,­ while acoustic hallucinations seem to reference­ what might have been said. An étude on hearing lips and seeing voices, the performer’s mechanically augmented vocal tract reshapes and filters conversational spectra into new modes of mis-communication. Spiel physically unravels the tenuous synesthetic relationship between what is seen, heard and understood.

Creative direction, composition, sound, interactive design: Peter van Haaften Original concept, creative direction, visual design: Michael Montanaro Visual design, fabrication: Tatev Yesayan Performer: Nien Tzu Weng Research collaboration: Topological Media Lab, Concordia

Uni­versity [an “in time” FRQSC funded project] Jamali Haadi

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Tommy Pallotta (US), Femke Wolting (NL) FAIRY BOT — Sandra Trostel (DE), Thies Mynther (DE) More Human Than Human All Creatures Welcome A contemporary documantary More Human Than Human explores the rise of artificial potential of Artificial Intelligence. The filmmakers intelligence (AI) and its effects on our lives. Artificial take us on a quest of understanding these innova- All Creatures Welcome sketches a utopian image of Intelligence was once the realm of science fiction and tions, examining opposing views and challenging our society in the digital era. Accompanied by the appeal futurist visions, but it is part of our current reality. aspirations for the future of man and machine. to “use hacking as a mindset,” the viewers immerse Self-driving cars, autonomous drones seeking their More than just an exposé on the pros and cons of this themselves, together with the filmmaker, in a next target or government agencies mining our per- new technology, the filmmakers’ journey takes them ­documentary adventure game and explore the world sonal data: we are surrounded by smart machines to the world’s leading AI experts and robot pioneers, of digital communities at the events held by the Chaos already. Increasingly, we expect machines to know confronting them with the existential questions that Computer Club; a real-world reflection of the virtual what we want and understand us when we talk – just artificial intelligence begs us to ask such as: What are spectrum. All Creatures Welcome is not merely a doc- ask Siri. As we take a look at the history and current the values and ideas these scientists built into their umentary: it’s a transmedia project, complemented by state of AI, filmmaker Tommy Pallotta takes us a creations? Has the artificial intelligence revolution modular additions that enhance the classic cinematic step further as he builds his own robot to see if it can taken us to the verge of witnessing the birth of a new framework according to the themes it deals with: replace him as a filmmaker. He and his team design, species? Why are humans so driven to create a new – The Create Your Own Culture platform build, and program the robot to think autonomously species that might make themselves obsolete? How – The music project Thies Mynther’s Fairy Bot and test if it can direct and interview him. Leading are our lives changing by these smart machines, what Orchestra them to question “Can AI replace us as filmmakers do they give us and what do we lose? – A cultural-political debate on the topic of Public and storytellers?” The complexity of tasks that smart Money = Public Culture Produced by Submarine Amsterdam machines can perform is increasing at an exponential In co-production with SubLA, Savage Film, VPRO The entire venture aims to forge ahead with the rate. Where will this ultimately take us? If a robot can Written & directed by Tommy Pallotta, Femke Wolting discourse on the free availability of culture and know­ learn to fold a towel on its own, will it someday be Producers: Femke Wolting, Bruno Felix, Tommy Pallotta ledge and transpose it into a concrete example— Co-producer: Bart Van Langendonck able to cook you dinner, perform surgery, and even “Sharing something can make more out of it!” Director of Photography: Guido van Gennep NSC conduct a war? More Human Than Human instigates Sound: Eddy de Cloe Director/ Camera/ Editor/ Producer: Sandra Trostel this debate between futurists and sceptics, about the Editor: Chris van Oers Co-Producer/Music: Thies Mynther Animation and Computer Interface Voice: Jon Frickey Camera @32c3: Lilli Thalgott Sound Mixer: Jonas Hummel Production company: FAIRY BOT Supported by https://ipredator.se/ and approximately 1000 crowdfunding backers. Submarine Amsterdam, 2018 Amsterdam, Submarine

82 83 THE PRACTICE OF ART AND SCIENCE

The rapprochement, as it were, of art and science, the artistic exploration of new applications, is a key factor in the increasingly social dimension of new technologies in order to comprehend how reciprocal human-machine relationships, interactions among individuals and globally networked systems can not only be better understood but, above all, better designed. Since the inception of the Festival in 1979 by artist Hubert Bognermayr, scientist Herbert W. Franke and journalist Hannes Leopoldseder, art and science has always been a key aspect of Ars Electronica. In 1996, the increasing interest in collaborations among artists and scientists resulted in the foundation of two pillars of learning, research and presentation: Ars Electronica Center as “Museum of the Future” and Ars Electronica Futurelab as “Laboratory for Future Innovations.” As sort of a melting pot, where different cultures of knowledge can—or should—mingle and discover their synergies, Ars Electronica has been a place for artists, scientists, researchers, designers and engineers to cooperate on multifarious projects for years. Based on a collaboration with CERN, which started in 2011, the plan for a network for art and science ­residencies on a European scale evolved. Ever since its initiation, the European Digital Art and Science Network with the partners ESA, ESO and Fraunhofer MEVIS sparked interest from artists as well as institutions and continued to grow. This year, various international crews of artists and scientists have also taken on the task of exploring art and science further, and now present their work in this exhibition space. EXHIBITIONS / The Practice of Art and Science

University of Graz — Artificial Life Lab (Project coordination) (AT), Université Paris Diderot — LIED (FR), École Polytechnique Fédérale de Lausanne — LSRO (CH), University of Zagreb — LARICS (HR), FCiências.ID — Associação para a Investigação e Desen, Cybertronica Research (DE) ASSISIbf—Symbiotic computation of bio-hybrid systems Bees, fish and robots solve difficult network problems together

Networks are ubiquitous in our world today and are robot swarms. These novel bio-hybrid “computa- Artificial Life Lab Graz Lab Artificial Life growing and complexifying at a global scale, from tional symbioses” efficiently search for optimal, or ­traffic and logistics to social networks and the “Internet near-­optimal, network configurations. With large of Things.” populations of animals we hope that future bio-hybrid Optimal design of such networks is a difficult task, applications will be able to solve global-scale network exploding in complexity with network size and con- problems in a shorter time than today’s computer nectivity. Thus, smart heuristics are a key technology algorithms, exploiting the parallelism of organismic —using randomized guessing as a form of provoked swarm computation. error is central to their functionality. In ASSISIbf we EU-FP7 Project no. 601074. Objective ICT-2011.9.10: Fundamen- aim for a radically different approach towards network tals of Collective Adaptive Systems – FoCAS, Duration: 5.5 years; optimization of this kind: We use “fuzzy” swarms of Start: 1st of February 2013, Budget: 6 Million Euro, honeybees and fish, in association with autonomous Project website: http://assisi-project.eu/ EPFL

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g.tec medical engineering GmbH (AT) BR41N.IO Hackathon The Brain-Computer Interface Designers Hackathon

A BCI provides a direct link between the brain and an real-time to create any sort of interaction. The hacking external device. 20 years ago, BCIs could only spell or projects use EEG electrodes and amplifiers, and chal- move computer cursors. Today, BCIs are being used in lenge programmers to code an interface that enables many different fields of neuroscience, such as motor them to control devices, robots or applications, post rehabilitation for stroke patients, assessment of and messages on social media, draw paintings, or a Voggeneder Florian Voggeneder Florian mindBEAGLE © g.tec medical engineering GmbH recoveriX © g.tec medical engineering GmbH communication with coma patients, control of devices myriad of other applications by using their thoughts for disabled people, cognitive training or neuromarket- only. BR41N.IO also challenges creative minds to ing. Machine learning, dry electrodes, wireless elec- design a BCI headset with 3-D printers, handcrafted trode caps, and other technologies are making BCIs materials and sewing machines. more powerful and practical for a growing number of Children are invited to create their own Brain-Com- g.tec medical engineering GmbH (AT) users. puter Interfaces and can take their handicraft with The BR41N.IO Brain-Computer Interface Designers them. BR41N.IO aims to promote awareness of artifi- Hackathon Series has been created to show these cial intelligence, life science, art and technology, and Bugfix the Brain current and future developments, and the unlimited how these can merge into innovative and exceptional possibilities of BCIs in creative or scientific fields, and BCI systems. Rehab Technologies for Medical Professionals brings together engineers, programmers, designers and Patients and artists. Each team must design and build a wear- BR41N.IO is organized by g.tec neurotechnology GmbH able BCI-headpiece that can measure brain activity in BR41N.IO is sponsored by the IEEE Brain Initiative Imagine being able to think, hear, and feel — but not to stimulation at the same time. This fosters brain move or communicate. The exhibition Bugfix the Brain ­plasticity and patients learn to move hands again. focuses on patients who suffer from motor disabilities mindBEAGLE is a pioneering method that can be used due to stroke or disorders of consciousness and shows with patients who are living with coma, unresponsive state-of-the-art rehabilitation and assessment tools wakefulness syndrome, minimal consciousness or based on Brain-Computer Interfaces. Neurologists, locked-in syndrome. mindBEAGLE uses auditory and physical therapists, caregivers and patients are wel- vibrotactile stimulation to assess whether a patient come to test these brain rehabilitation technologies is conscious. If patients are able to perceive stimuli on themselves. given by the mindBEAGLE system, they might be able recoveriX is the first rehabilitation system for stroke to communicate and answer Yes/No questions! The patients that pairs mental activities with motor func- ­Unicorn-Speller is an affordable Brain-Computer Inter- tions. For example, if a stroke patient imagines a hand face that allows patients to write words and sentences movement, the BCI system gives a visual feedback just by thinking. This is an important tool for com-

g.tec neurotechnology GmbH g.tec Mesic Tom through Virtual Reality and feedback through ­muscle pletely paralyzed people to establish communication. BR41N.IO Linz 2017 BR41N.IO Orthosis Control at Ars Electronica 2017

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Marjan Colletti (IT/AT/UK), Daniela Mitterberger (AT), Tiziano Derme (IT/AT), Georg Grasser (AT) FrAgile 6 — Pahoehoe Beauty

The trans-disciplinary and post-digital series entitled With technology disappearing into the background, FrAgility addresses the fragility/agility of design, visitors focus more on the value of design experimen- technology, materiality, environment, nature and tation, on the spatial experience of hybrid artefacts, architecture in the 21st century, and results from the and on the potentialities of architecture as cultural collaboration of a plethora of disciplines (industry, catalyst. craftsmen, material scientists, biologists, couturiers, artists, engineers...). Supported by the University of Innsbruck (Faculty of Architec- Fully robotically 3-D-printed, Pahoehoe is a landscape, ture, Institut für experimentelle Architektur.Hochbau, REX|LAB); a garden—a chimera of both natural and man-made and by UCL (The Bartlett School of Architecture) materials, objects and species—yet with antithetical Collaborations: techno-organic aesthetics. The project reflects with Dr. Aurelien Forget; Jan Contala (Rex-Lab); Jonathan Raphael particular attention on the often troubled, in some Hanny; Moritz Riedl; Michael Schneider (Tyroler Glückspilze); Philipp Schwaderer (Rex-Lab); Lukas Vorreiter cases incompatible relationship of the built envi- ronment with the natural environment. It creates a Thanks to Pavlos Fereos and all Hochbau E3 students: hybrid domain beyond the oppressive binaries of west- Claire Hentgen; Tobias Hinterschwepfinger; Laura Schwarz; David Haslgruber; Florian Heinrich; Tobias Sam; Kristan Walder; ern modernity, defined by an ecosystem of specious Sandra Al jbali; Cendrine Peters and Kilian Bauer; Marina symbionts and mistaken materials. Niederleitner arc/sec Lab — Uwe Rieger (DE/NZ), Yinan Liu (NZ), in collaboration with the Augmented Human Lab LightTank

LightTank is a mixed-reality installation that Reactive ­Architecture as a fusion of physical materi­ ­augments a space frame structure with holographic ality and digital information. LightTank’s interface was line drawings. Using the anaglyph (red/cyan) stereo developed in collaboration with the Augmented Human projection technique on transparent screens, the hap- Lab at the Bio Engineering Institute. Under the lead of tic-digital construction merges with its surrounding Assoc. Prof. Suranga Nanayakkara, the AHLab focuses on and blurs the boundaries between tactile and virtual. creating enabling human-computer interfaces as LightTankcreates a communal immersive experience natural extensions of our body, mind and behavior. with an intimate responsiveness to its audience. The www.arc-sec.com; www.ahlab.org project was conceived by the arc/sec Lab for Digital Project concept and development by arc/sec Lab: Uwe Rieger Spatial Operations at the School of Architecture and and Yinan Liu, the University of Auckland Sensing solution by Augmented Human Lab: Roger Boldu, Planning at the University of Auckland. Headed by Heetesh Alwani, Haimo Zhang, Suranga Nanayakkara, the Assoc. Prof. Uwe Rieger, the Lab explores real time University of Auckland maeid copy mc copy maeid

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Pierre Cutellic (FR/CH), Maria Smigielska (PL/CH) Proteus 2.0 Modulating Matter with Mixed Intelligence

Proteus 2.0 is an installation that modulates ferro- of its behavior. All the recorded sequences are then fluid patterns, with both human and machine intel- displayed separately to exhibit the variety of patterns ligences, in a closed loop. Through an individual and collected throughout the period of the festival. The prolonged visual experience, it immerses the visitor project relies on digitally encoded material proper- in an implicit interaction with the material through ties with the use of a computational mixture of both a brain-computer interface. A pre-trained dedicated human and machine vision models. machine learning model is informed by real-time neu- ral signals, produced by the visitor’s gaze while being Pierre Cutellic (compmonks.com), Maria Smigielska (mariasni. exposed to the rapid serial change of patterns without com, creativerobotics.at) any explicit instructions to follow. Over the time of the Supported by : gaze experience, visitors may witness a certain stabili- Creative Robotics UfG Linz, Austria http://creativerobotics.at/ zation of their own modulated picture of the material. Chair for Computer-Aided Architectural Design (CAAD), Institute of Technology for Architecture (ITA), ETH Zürich, This model not only modulates the ferrofluid display Switzerland http://www.caad.arch.ethz.ch/ over time but also slowly builds a digital motion picture Sponsors : SMC Corporation (smc.at), supermagnete MIT Media Lab, Fluid Interfaces Group (US) Cocoon Interfacing with the Sleeping Mind

Cocoon transplants ongoing research at the MIT Media perceptually grounded experience into dreams, and Lab’s Dream Lab into the electronic arts context. We the clear signals associated with them, link science will perform live experiments that focus on tracking, and the imaginary. influencing and extracting content from dreams. We The MIT Media Lab is an antidisciplinary research lab- present three custom-built wearable electronics for oratory at the Massachusetts Institute of Technology. sleep science which make this interface across levels Its research is not restricted to fixed academic disci- of consciousness possible: Masca, Essence and Dor- plines, but draws from technology, media, science, art mio. Our wearables gather eye, heart, brain, breath, and design. The Dream Lab is an initiative from the muscle and skin biosignals for sleep staging and in Fluid Interfaces Group at the MIT Media Lab. The group turn output smell, audio and electricity to manipulate designs systems for cognitive enhancement building the dreaming brain. The intersection between signals upon insights from neuroscience and psychology. and stories where we work, between concrete inputs These systems help us exploit the untapped powers and the algorithms which abstract them in the mind, of our minds and seamlessly supplement our natural offer a unique meeting point for scientific regiment abilities to support attention, memory, emotional reg-

and experiential art. The nightly dissolution of our ulation, creativity, learning, decision making and more. Smigielska Maria

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Seoul LiDARs —Hyun Parke (KR/US), Jinoon Choi (KR), Sookyun Yang (KR) Volumetric Data Collector

Seoul LiDARs focuses on the non-intended use collected ­volumetric data of Seoul’s historic places of industrial technology through various artistic such as a high security inner-city mountain, alleys of approaches. Volumetric Data Collector is built on the an old electronics market and a now-defunct prison. idea of mobilizing a LiDAR sensor, a 3-D-laser sen- This seemingly parasitic device visualizes three-di- sor commonly used on autonomous vehicles, as an mensional spatial information onto the monitor on extended sense organ of a human body. Volumetric the carrier’s back. Data Collector is our first experiment translating This experiment shifts LiDAR senses into a com- between a LiDAR sensor and a human sensor, and pletely different perspective by de/re-purposing its from a 3-D-point cloud to visual data. We packed a intended function and integrating human mobility. LiDAR, a display monitor and peripheral devices in a It is an examination of how spatial sensing technol- portable unit, to be carried around Seoul by walking ogy, a non-human sense that could either be a potent to places that are otherwise inaccessible. This (in) counterpart or an expansion of human senses, could efficient device is combined with human mobility, define city space, thus influencing human perception.

performing a simple task of collecting a 3-D-point Hyun Parke, Jinoon Choi, Sookyun Yang cloud of the carrier’s surroundings. For three days, we Supported by ZER01NE

Nathalie Regard (FR/MX), Guillaume Dumas (FR), Roberto Toro (FR/CL) The 101-nights

Dream Sessions developed an experimental protocol landscape between the brain activity made from for sleep monitoring. Integrating Nathalie’s body into encephalographic data and the subjective experience a study, we reconstructed the environment of dream of dream, recorded during the performance, where the emergence upon the permanent exchange between viewer is invited to interact and look for possible cor- the internal perception and the environment. Adding respondences between the plot of her dreams and the an exceptional length of time in comparison to com- auditory influences triggered by the computer system. mon studies, in The 101-Nights we perform the record- The protocoled writing becomes sound and the stories ing of her sleep with 256 EEG channels, a performance solved through voices tell us strange facts. The invis- in which her dreams were electronically recorded and ible, silent and impersonal EEG data are carried over stimulated with audios. These stimuli ­occasionally into a visual projection, regaining reality in a new way. demonstrate their influence in the account of her dreams. The Sleeper proposes to reproduce the EGI Electrical Geodesics Inc. / cooperation partners /

94 95 EXHIBITIONS / The Practice of Art and Science

Copenhagen Institute of Interaction Design, IT University Copenhagen (DK) Greiner Group (AT) VIRT-EU Plastics for Life Tools for Ethical Thinking While Creating Connected Devices At Greiner, every employee has the opportunity to plastics, derived from specialized bacteria, is studied ­present and discuss ideas online. So far, hundreds and improved. The resulting decomposition products We are exposed daily to creepy news stories about to generating new knowledge and methods for coun- of ideas have been posted and developed, innova- can be used as raw material for the production of smart objects gathering people’s data, yet such an tering the unproved assumption that technological tions have been promoted and creative employees plastic granules. unethical practice is widely left unaddressed for the development leaves no room for ethical and moral connected. The Plastics for Life campaign is about The Life Capsule aims to replenish fallow land. The sake of technology-led economic growth. No one yet reasoning. sustainability and plastics. Particularly attractive degradable plastic containers contain plant seeds, knows how to solve the challenges of ensuring eth- VIRT-EU aims to intervene at the point of design are those two ideas that have the goal of the entire nutrients and water and are dumped over affected ical data practices in the way new technologies are to foster ethical thinking among developers of IoT value-added­ cycle: areas. The capsule is made of 100% biodegradable designed. The EU has made significant legislative and solutions. In fact, addressing social concerns in new At Enzymatic Recycling, the ability to break down­ plastic and protects the seedling in the ­initial stage. advocacy efforts to address societal concerns brought technologies not only impacts changes in regulatory about by technological innovation in data processing. regimes, but also influences the process of imagining Nevertheless, we lack practical guidelines and assess- and developing the next generation of digital technol- ment procedures to embed ethical, social and data ogies within European clusters of creative innovation. protection values in the design and development of Copenhagen Institute of Interaction Design, IT University data-intensive technologies and services. Copenhagen, Open Rights Group, London School of Economics, VIRT-EU applies an interdisciplinary research approach Uppsala University, Politecnico di Torino

96 97 EXHIBITIONS / The Practice of Art and Science

Mozilla (US), The Tech Museum of Innovation (US) Reality Redrawn Challenge

The Reality Redrawn Challenge, launched by Mozilla, is impact. The five winners’ works were presented at intended to tackle the current topic of misinformation The Tech Museum of Innovation in San Jose, California. with the help of mixed reality and other art media. Two of these projects—Bubble Chaos Echo Chamber Artists and developers were invited to conceive and Faking News —are exhibited at the Ars Electronica of projects that reveal and illustrate processes of Festival 2018. misinformation as well as their potential societal

Stu Campbell (AU) Faking News Leoni Nick

If the front-page news could be broken down and therefore it is important for people to question the Yosun Chang (US) analyzed in real-time, what would it look like? Using authenticity of news. The EyeJack app is a time-lens the EyeJack Augmented Reality App, you can see the where multiple points of view can be presented simul- front page of the New York Times come to life with taneously. Bubble Chaos Echo Chamber animation and sound as the stories are deconstructed. The juxtaposition of stories and events presents In this context the EyeJack app allows the user to per- context that may explain why influential leaders and Bubble Chaos Echo Chamber is the experiential embod- made famous by Snapchat, the visitor-viewer is invited form a news autopsy—a post-print examination that institutions choose to omit or distort facts or fabricate iment of the visitor-viewer peering into the viewpoint to pick up a “bubble marker” to hold in front of “It”. explores the climate of events surrounding the news news altogether. This piece was first seen at Mozilla’s of someone (“It”) stuck in an echo chamber bounded These AR markers can augment and trigger video story. In an era where the term “fake news” is wielded Reality Redrawn event at The Tech Museum of Inno- by a filtered reality. ­filters—and can even evoke different facial emotional ­frequently, the legitimacy of news is under threat and vation in San Jose. “It” sees the world through a head-mounted display. responses from “It.” If the visitor-viewer chooses to But, we see it is actually a digitally processed ver- hold their “bubble marker” in front of their face, they sion of the world—call it reality-replacement lenses could mask themselves, and effectively inject their or augmented reality (AR) taken to extremes. “It” is own “filter bubble” as perceived by the system into at the mercy of the system, and we see in this case, “Its” echo chamber, continuing the bubble chaos loop. its face detector has been hacked to identify people incorrectly. As a pun on “filter bubble” and AR “filters”­ Mozilla and The Tech Museum of Innovation

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Artshare (PT), Ecole Polytechnique Fédérale de Lausanne (CH), Fraunhofer Group Information and Communication Technologies (DE), French Tech Culture (FR), Inova+ (PT), IRCAM (FR), Libelium (ES) Rosenbauer International AG (AT) CHALLENGE: Emergency Error Battle STARTS Residencies STARTS Residencies form one of the STARTS Pillars. A grant (up to 30,000€) is awarded to the artist of each The Future of Helping This program is supporting and funding 45 artistic res- STARTS Residency as a contribution to their involve- idencies that bring original artistic contributions to ment in the residencies programme. Additional sup- technology-based research projects between 2017 and port to the residency can also be brought by a producer. In a future with a growing world population, with consideration. What errors could possibly creep into 2020. During each STARTS Residency, a tech project ­worsening climate change accompanied by a whole the use of this technology in an emergency situation? collaborates with an artist, leading to the creation of series of novel challenges, with so-called smart homes Can natural human intuition be replaced by artificial With the support of the European Commission’s DG Connect in an original artwork, and to the development of the and other new technologies in use in everyday life, intelligence? How can new technologies deliver sup- the framework of STARTS initiative (Science, Technology and innovative aspects of the tech research. the ARTS). certain aspects of emergency service organizations’ port to existing, well-functioning team structures? mission and tasks will change accordingly. Rosen- What this future will look like is now assuming increas- bauer, the world’s leading manufacturer of systems ingly clear contours. In cooperation with the Upper for firefighting and disaster protection, is facing Austrian Regional Fire Brigade and g.tec Corporation, these future issues now. The company presents newly Ars Electronica and Rosenbauer invite festivalgoers to developed technologies that will shape the future of experience this future right up close, right now. firefighting and ultimately make it easier. An example The big event highlighting the presentation will is the concept study of a self-driving fire truck of the be a special CHALLENGE for VOLUNTEER FIRE future, Concept Fire Truck (CFT), which will be pre- COMPANIES in Upper Austria. POSTCITY LINZ’s bank Atlas SMART>SOS The Plants Sense sented. The development engineers focused on how of spiral packet chutes will serve as the setting for this the architecture of the vehicle is determined by future “Emergency of the Future.” requirements for fire departments. These developments also take social structures into In Cooperation with OÖ Landes-Feuerwehrverband and g.tec Yann Deval (FR), Marie G. Losseau (BE) Atlas

Atlas is a work between digital arts and visual arts, in An experience by Yann Deval & Marie G. Losseau the form of an interactive and scenographic exhibition With the support of VERTIGO STARTS program of the European Commission with IRCAM-Centre Pompidou and EPFL Museum (a mix between real models and a VR/AR experience). Lab, Fédération Wallonie-Bruxelles, Cocof, Maison des Cultures After being plunged in an archipelago of poetical et de la Cohésion Sociale de Molenbeek Saint-Jean, Fablab’ke, islands, spectators are invited to build virtual cities Wallonie-Bruxelles International using a “seed launcher”. Each launch causes a house to grow. The growing houses follow some urbanistic rules, adapting to their environment. There are cities in the clouds, uprooted cities, cities on stilts, flying cities... Spectators create empty cities, without inhabitants, given free rein to imagine what happens inside these houses. The cities take on a life of their own, with or without the interactions of users, just like living organisms... The work allows you to create huge cities, in which you can wander and lose yourself. It provokes a reflection on urbanism, architecture, and their influence on our

Rosenbauer lifestyles. It gives life to inanimate things...

100 101 EXHIBITIONS / The Practice of Art and Science / Fashion

Fashion

Fashion & Technology (FAT) University of Art and Design Linz Curators: Veronika Krenn, Christiane Luible, Ute Ploier, Nina Wenhart

The Fashion & Technology program at Linz Art Uni- The Fashion & Technology program aims to impart versity was initiated about three years ago. It com- a critical way of dealing with the social relevance of menced as a bachelor’s degree program in autumn fashion as an instrument of differentiation, as an 2015; an internationally oriented master’s program will emancipatory means of reflection on the conditions be offered beginning in March 2019. F&T is presenting of design and production as well as on the relation- a small selection of the first bachelor’s degree projects ship between the body and its media-pervaded envi- at the 2018 Ars Electronica Festival. ronment. This means not only deploying technology The interplay of fashion and technology is nothing new but also critically reflecting on technology by means per se. One such example was of fundamental impor- of fashion. Fashion & Technology sees fashion as a tance for the invention of the computer—the Jacquard complex fabric in which many different threads of dis- loom. Its principle of perforated cards was the basis course run together and materialize. of the programming of Charles Babbage’s unfinished From its very inception, Fashion & Technology has analytical engine. This means of storing and retriev- experimented with alternative show formats. In 2016, ing data was used until the 1960s. Today, the pairing the Ars Electronica Center’s Deep Space 8K hosted of fashion and technology is most often associated Anatomies of Fashion in which state-of-the-art CT with smart textiles and soft circuits, wearables and software delivered a walk-through 3-D experience. In 3-D printers. 2017, students’ designs were shown in stereoscopic sel- But Fashion & Technology is much more than this. fie videos featuring industrial robots instead of human The program is governed by an integrative philo­ models. This year, a round-table discussion and key- sophy. Technology and fashion don’t just encounter notes are launching THE POLITICS OF FASHION: FASH- one another; they blend. This isn’t simply the consol- ION AS SOCIAL BOT, a new platform event designed idation of two separate spheres; their merger brings to rethink and aesthetically form the phenomenon of forth something totally new. fashion at the nexus of art and technology. Yasmina Haddad; design: Katharina Halusa (student F&T) Halusa (student Haddad; design: Katharina Yasmina

102 103 EXHIBITIONS / The Practice of Art and Science / Fashion

Mirela Ionica (RO) Nina Krainer (AT) The Weakest Force Sculpting Identity

The project The Weakest Force explores simple ways scale or as a weak force at particle level. The project Identity can be explored, questioned and translated clean, digitally developed objects. The fact that every- of using and simulating the effects of natural forces starts with simple silhouettes and shapes, which are into an aesthetic language or form. For this project, an thing is developed within an analogue process values and phenomena in the design process in order to then distorted in an analog and digital way. Distortions individual wardrobe serves as a “database.” Each piece craftsmanship and traditional production methods in ­create structures, textures or prints. Gravity is one are caused by various gravity forces: the stronger the of clothing is disrobed, photographed and analogously a digitalized world. Furthermore, external and internal of the fundamental forces in the universe which can ­gravity, the stronger the distortion. converted into an icon that constitutes the starting data sharing and profiling on the Internet are critically either be viewed as a strong, binding force on a large point of a new pattern-development process. At a examined. first glimpse the resulting sculptural objects look like

Sara Kickmayr (AT) Michael Wieser (AT), Simon Hochleitner (AT), Viktor Weichselbaumer (AT) Visual Invisibility Generative Rendered Design Inspired by biological phenomena, this project deals Various textiles have been treated applying this tech- with molecular technology and its aesthetic. In nature, nique. Results are materials with a constant moving Generative Rendered Design describes an open process, the beauty of lucent objects lies within the microscopic visual aesthetic that plays with light-reflecting effects. which aims to come up with a new method to generate

structure. It is possible to imitate and recreate these VISUAL INVISIBILITY has been developed in cooperation with and present fashion, or garments in general. 3-D data effects with additive nanoimprint technology. Profactor GmbH. is the basis for a digital process chain, which rethinks the relationship between body and garment.

The Weakest Force Visual Invisibility Sculpting Identity Generative Rendered Design

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Yasuaki Kakehi Laboratory (JP), HOSOO (JP), YCAM (JP) Heteroweave

The work aims to create new functional woven fabrics be acquired in real time by a sensor embedded in the that can undergo dynamic changes in their character- table. Heteroweave 003: Synthetic seam leather, which istics by combining the structure of Japanese tradi- is a highly absorbent material, was cut and woven into tional Nishijin weave with new materials, which are filaments like a foil. This material becomes soft when not commonly used in that way. Heteroweave 001: it absorbs water and hardens when dried. Utilizing the We wove foils coated with an ink that changes color hardness during drying, we explore the possibility of when it reaches a certain temperature and produced a application to three-dimensional structures that can dynamic color-changing woven cloth. We explore the be “reshaped.” possibility of developing it as a cloth with a rewritable Co-researched & developed with YCAM, HOSOO, and Yasuaki pattern or as a cloth that responds to the surrounding Kakehi Laboratory environment. Heteroweave 002: The whole cloth works Project Members: as a computer interface, which visualizes the cloth Direction: Yasuaki Kakehi and Masataka Hosoo structure on the screen. We created a woven cloth that Material Research & Design: Yumi Nishihara, Satoshi Nakamaru, Juri Fujii, and Shingo Maeda has foils on which position and ID data are printed as Interface Design & Programming: Shohei Takei and Hiroki Kaji fine dots. By sliding the cloth on a table, the data can Supported by JST ERATO, Japan.

Ken Furudate (JP) Complex Order

Complex Order is a research and development project between the artist/programmer Ken Furudate and the company HOSOO which is a Kyoto-based textile com- pany founded in 1688 specializing in superior quality fabrics for high-end interior design and fashion. In this project, Ken Furudate has made the software to create weaving patterns by generative algorithms for jacquard loom, specially focusing on the structures of the fabric. He uses the computer program to recon- struct fabrics from their most primitive element and realizes a complex construction which is difficult with human handicraft.

Co-researched & developed with YCAM, HOSOO Co.,Ltd. and Ken Furudate

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Bart Hess (NL), in collaboration with Maria Dada (UK) Marco Coluccia (IT) Kasia Molga (UK) Life Instinct Human Sensor LDN

PVC worms, linked together with hairy cords, squirm Pollution, lack of greenery, and congestion are key of cutting-edge wearable technology and immersive subtly. The movement intensifies when one comes environmental factors that impact negatively on the theater. Wearables created by Kasia Molga and her closer. Awkward feelings arise when you see this work day-to-day existence of city dwellers and their long- team (Ricardo O’Nascimento and Erik Overmeire). by Bart Hess. It is an intense physical experience that term health. A recent study by King’s College Lon- Performance directed by Kasia Molga in collaboration comes with a little discomfort, but at the same time don revealed that nearly 9,500 people die a year as with Ruth Jones and air pollution scientist Professor fascinates immensely. a result of air pollution in London alone. Human Sen- Frank Kelly. Human Sensor LDN was commissioned This three-part installation from artist Bart Hess, sor is a large-scale digital and performance artwork by Invisible Dust and Euston Town BID (Business in collaboration with Maria Dada from the Digital from award-winning artist and creative technologist Improvement District). Anthropology Lab at the London College of Fashion, Kasia Molga. This exhibit demonstrates the creative Human Sensor LDN was commissioned and produced by provokes and humanizes our idea of programmable technology used in the recently premiered Human Invisible­­ Dust in partnership with Euston Town BID as part of materials. Bart Hess applies his exploratory approach Sensor LDN project exploring London’s inhabitants’ “Under Her Eye” to materials, creating interactive silicon (with nitinol), daily exposure to air pollution through a combination Invisible Dust, Euston BID (Business Improvement District) animating robotic worms and giving personality and character to magnets, blurring the boundaries between the physical and the emotional. The installation space is filled with dark, spectral soundscapes created in collaboration with Treale aka Marco Coluccia, imagined to draw the audience deeper into Life Instinct.

Created by Bart Hess www.barthess.nl In collaboration with Maria Dada www.digital-anthropology-lab.com www.mariadada.com Sound design: Treale www.marcocoluccia.com Additional support: Wojtek Tusz www.studio-wt.com Bart Hess Studio, [email protected] BartHess Studio, Dennis Angela

108 109 EXHIBITIONS / The Practice of Art and Science / Fashion

Lara Grant (US), Anna Blumenkranz (DE/UA), Adrian Freed (UK) FlexAbility

FlexAbility is a modular kit prototype created from services. This project is rooted between San Francisco, ethically and sustainability vetted components facil- US, and Munich, Germany, where we are collaborating itating the creation of made-to-measure wearables with consultants at the community centers Ability for people with physical disabilities. This open-source Now Centre and Stiftung Pfennigparade to conduct Wearable technologists Engage with Artists for Responsible innovation (WEAR) kit allows us to build customized wearable solutions living lab research. for accessing computer and other devices, and will be Supported by WEAR Sustain—EU Horizon 2020, and made available to a network of designers, fabrica- Hans-Sauer-Stiftung. WEAR Sustain tors and community centers through the web portal Cooperation partners: Pfennigparade München, Ability Now flexability.org, along with informational and support Centre Bay Area, Maker Space UnternehmerTUM The STARTS Prototyping project WEAR Sustain is a • Develop a framework within which future prototypes two-year and three-million-Euro project funded by can be developed to become the next generation of the European Commission Horizon 2020 research and what ethical and aesthetic wearables should be; by-wire.net (NL) — Marina Toeters (NL), Holst Center (NL) — Margreet de Kok (NL), innovation initiative. Katoenenzo (NL) — Melissa Bonvie (NL) It aims to engage artists and designers to work with • Lead the emergence of innovative approaches to technology and engineering experts, to shift the design, production, manufacturing and business development of the wearables and smart/e-textile models for wearable technologies and smart/e-tex- Closed Loop Smart Athleisure landscape and industry towards a more sustainable tiles; and ethical approach to development, from design to • Make citizens, industry, and other stakeholders more Fashion end-of-life and waste management. 2.4 million euros aware of and responsible for ethical, sustainable and have been awarded to 46 teams for 6+ months, each aesthetic issues in the design, development and use Intelligent Fashion, containing technology that can vital signals based on Holst Centre’s advanced printed with €50,000 to support further development of each of wearable technologies and smart/e-textiles. measure your health, and is still sustainable. My shirt sensor technologies on flexible substrates for textile prototype, with input from mentors, experts and hubs keeps track of my heartbeat and respiration. So I can integration. The laminated sensors are truly wearable, across Europe. The project runs between January 2017 be more effective. I know there is a lot of technology comfortable, robust, invisible during use, washable up and December 2018. in there, but I don’t feel it. The sensors are seam- to 25 cycles, and designed for unobtrusive integration lessly laminated onto the fabric. It’s very comfortable. in conventional fashion production. WEAR’s aims are to: It’s beneficial to wear these clothes on a daily basis, • Develop a sustainable European network of stake- https://wearsustain.eu because they check my well-being and stress level. The We would like to acknowledge all project partners and contributors listed here: http://www.by-wire.net/clsaf/. The holders and hubs, to connect and push the bound- https://network.wearsustain.eu/dashboards/home lease and recycle system is a closed loop. I don’t have to The project is managed by a consortium of 7 organizations WEAR Sustain project has received funding from the European aries in the design and development of ethical and across 5 EU countries: worry about what to do when the garment has no use Union’s Horizon 2020 research and innovation program under sustainable wearables and smart/e-textiles; IMEC (Brussels, BE) for me anymore. The technology will be de-laminated grant agreement no. 732098. This publication reflects only the University for the Creative Arts (Epsom, UK) from the shirt, and recycled. It sounds like a dream of author’s views. The sole responsibility of this publication lies • Encourage cross-border and cross-sector collabora- Queen Mary University of London (UK) with the WEAR Sustain Consortium. The European Commission the future but it’s right here and we are wearing it. is not responsible for any use that may be made of the informa- tion between artists and technologists to design and Berlin University of the Arts, UdK (Berlin, DE) Blumine (Milan, IT) The smart shirts continuously measures the ladies’ key tion contained therein. develop a new generation of ethical and sustainable Digital Spaces Living Lab (Sofia, BG) wearable technologies and smart/e-textiles; DataScouts (Brussels, BE)

FlexAbility Closed Loop Smart Athleisure Fashion 110 111 EXHIBITIONS / The Practice of Art and Science / Fashion

University of Siena (IT) — Patrizia Marti (IT), Matteo Sirizzotti (IT), Pietro Rustici (IT), Simone Guercio (IT), Glitch Factory s.r.l. (IT) — Michele Tittarelli (IT), Iolanda Iacono (IT), T4All (IT) — Gianluca Daino (IT), Riccardo Zambon (IT) Quietude

Quietude is a collection of interactive jewels that enhance the experience of sound for deaf women. They detect sounds and translate them into vibrations, light and shape changes. The jewelry collection is completed by an app for smartphone allowing personalization of both input and output, and the construction of a per- sonal library of sounds that can be monitored for and replayed on demand through the jewels. The project has been developed in co-design sessions with deaf Hellen van Rees (NL), University of Twente (NL) — Angelika Mader (DE), Geke Ludden (NL) women to enable the development of accessories that respond to the emergent discoveries and desires.

Textile Reflexes www.quietude.it Quietude has been designed and developed by a team composed by Santa Chiara Lab – University of Siena (coordinator), This project aims to further develop the shape-chang- Glitch Factory and T4All. ing textile developed by Hellen van Rees. The flexible Siena Art Institute and University of Southern Denmark textile is made of squares of post-consumer textile collaborated as service providers. waste. Authors of the project are: Patrizia Marti (University of Siena), Matteo Sirizzotti (University of Siena), Simone Guercio (Univer- Through a unique approach, the different squares can sity of Siena), Pietro Rustici (University of Siena), Michele Tit- move and respond to each other, creating a flexible, tarelli (Glitch Factory s.r.l.,www.glitchfactory.it), Iolanda Iacono expanding & contracting surface. Through this effect (Glitch Factory s.r.l., www.glitchfactory.it), Gianluca Daino (T4All a dynamic and playful texture emerges that easily s.r.l.,www.t4all.it), Riccardo Zambon (T4All s.r.l.,www.t4all.it). Supported by WEAR Sustain adapts, leaving continuously changing open gaps between the squares. Shape-changing sustainable textiles give feedback to users and can be applied in coaching situations. The first working prototype of this project is a posture correction coach. The vest can be worn over regular garments and it measures when the user has an incorrect posture. It then pulls the flexible panel of squares at the back to subtly remind the user to sit back upright.

Supported by WEAR Sustain, Horizon 2020, Designlab,

University of Twente, Hellen van Rees Team Core Quietude

112 113 EXHIBITIONS / The Practice of Art and Science / Fashion

datable (US) — Elizabeth Esther Bigger (US), Luis Edgardo Fraguada (PR) GenCloth

Mogu S.r.l., Maurizio Montalti (IT/NL) GenCloth is a 3-D toolkit and data set archive for generative garment design. The ambition of the project is to empower local fashion designers with MOGU Leather 3-D software toolkits for rapid client customization in order to grow local talent, local economies, and local MOGU Leather is a revolutionary line, comprising a demand for bespoke clothing. This project began as range of materials and products exclusively consisting an idea in 2013 after 3-D-scanning the bodies of 150 of fungal mycelium. MOGU Leather looks at a future people in Barcelona and discovering the wonderful and where animals are not killed for human’s material rich diversity in each of those bodies. The challenge desires. As opposed to traditional animal leather, was to design a simple software system that would MOGU Leather can be grown in rather short time- encompass the process to create a bespoke garment frames, with a limited amount of resources, and its from the initial client measurements or body scan to production process is not wasteful. Some of the out- the final flat garment pattern pieces. After utilizing standing qualities of MOGU Leather include: strength, this process in practice and with real clients for several, flexibility, breathability, water resistance, composta- the project won a sub grant from the WEAR Sustain bility, customizability and cost-competitiveness. EU H2020 funded project for further development. The MOGU Leather is to be looked at as an alternative to main objective of the project development during the traditional animal leather, though different as grown grant is to lower the barrier to entry by creating a sim- by fungi and by means of mycelium technology; a novel ple toolkit, create a community around the tools, and natural material with comparable experiential/tactile create open data sets to enrich the process of genera- qualities to those of animal leather, promising to bring tive garment design. about a great material revolution, leading towards the The GenCloth Project has received funding from the European establishment of a more ethically and environmentally Union’s Horizon 2020 research and innovation program under responsible fashion industry. WEAR grant agreement no. 732098 https://wearsustain.eu/

Mogu S.r.l. Designer / Researcher / R&D Director: Maurizio Montalti CEO: Stefano Babbini in close collaboration with Utrecht University / Microbiology Department (Prof. Han Wösten) supported by WEAR Sustain

114 115 EXHIBITIONS / The Practice of Art and Science / Fashion

Ilian Milinov (BG), Evgeniya Tsankova (BG), Yana Tankovska (BG), Georgi Chervendinev (BG), Petar Zhivkov (BG) Airlief

Airlief is an effective and innovative air-pollution mask. It is comfortable and looks more like a fashion accessory than a complicated air-filtering device. The 3-D-knitting technology for the front layer also allows artists and designers to customize the mask and to Francesca Perona (IT/UK), Jane Scott (UK), Tiffany Wood (UK) apply different patterns as desired by the user. The filters are 99 % effective against PM2.5 (biggest killer in cities) and change based on how often the mask Biocoatile is worn and how polluted the environment is. That’s why Airlief is developing a smart device and a mobile What if we could harness natural properties of biological working with a newly discovered functional protein app to track when you wear the mask and how much materials to enhance the performance of textiles used produced by harmless bacteria, to create more sus- air pollution there is. It will also be able to notify you in our daily life? tainable alternatives in line with the growing bioecon- when to change the filter and when the outdoor air is Biocoatile brings together soft matter physics, bio- omy. They are testing how properties of common fibers highly polluted. The mask has a smart ventilator that technology and programmable knitting to envision are enhanced by protein-based coatings. Using these improves its comfort. This is a big advantage because sustainable, chemical-free, smarter textiles. materials together with biomimicry-inspired knitting harder breathing, higher humidity, and fogginess are Chemical finishes are commonly used by the textile construction, they are creating adaptive textiles that the biggest problems for all masks. industry to provide comfort and adaptation to var- respond to environmental humidity and skin moisture. ied environmental conditions. However, these treat- Supported by wearsustain.eu ments contain toxic chemicals and nano-particles It is a project that aims to engage art, design and creative indus- This project has received funding from the European Union’s tries to work closer with technology and engineering industries, that disperse in water streams and bioaccumulate Horizon 2020 research and innovation program under to shift the development of the wearables and e-textile land- in our bodies. A team of scientists and designers is WEAR Sustain grant agreement no. 732098. scape towards a more sustainable and ethical approach.

116 117 EXHIBITIONS / The Practice of Art and Science / Space Art

Space Art Kosmica

MIT Media Lab, Space Exploration Initiative (US) A glitch in the stars — Space Exploration Initiative Exhibition

In 1990, from 6 million kilometers away, Voyager 1 took body in zero-g, self-assembly infrastructure for the a snapshot of our existence in the universe: a pale blue next generation of zero gravity habitats, spider-like dot. In it, we saw the loneliness and impermanence of performance with the three-dimensional movements our species, a realization that continues to sustain a of a weightless body, scents that capture the memo- thriving, resonating call for the future. However, space ries of our homeland and a grappler for landing foun- is not for humans. We are never meant to be there, an dational infrastructure on an asteroid. error in the wild. The isolation, lack of gravity, radiation All the projects were successfully deployed and per- and all the risks there can kill us in minutes. What is formed in a zero-gravity parabolic flight last year. They human experience beyond the earthbound? Here, six are hopes beyond solutions, imaginations more than projects form the Space Exploration Initiative of MIT facts. Just like generations of observers, they see our Media Lab are asking the same question and bringing future in the stars. possibilities to the toughest, impossible space:

A musical instrument that only plays in zero-gravity, All the projects are supported by the Space Exploration Initiative pneumatic surface that morphs to embrace the human of MIT Media Lab.

Art might not be the first category that comes to mind dark corners of our universe. Maybe this is one facet when thinking of actual space travel and exploration; of why space travel and art have crossed paths before the technical aspect – rockets, spacesuits, space plat- and their combination sparks the interest of research- forms – would probably be more dominant. Neverthe- ers, scientists and artists: from sending a couple of oil less, space travel has always been a topic for artists paintings to space in 1986, to Arthur Woods’ Cosmic to unleash their creativity, which has resulted in a Dancer, a sculpture which was sent to Mir station in multitude of genres. And everybody who has seen a 1993, to the foundation of KOSMICA in 2011, an institu- sci-fi movie knows: there is no wiggle room for errors in tion that entirely focuses on Space Art, to the projects space. So there is art where the error can be an integral exhibited at Ars Electronica Festival 2018. part of creation, and there is space travelling, where a People are already envisioning space as a travel destina- minor error could end deadly – at first glance, it almost tion for civilians or even as a human living environment seems impossible to combine these two. Yet, exploring is (although this may take a while…). Why shouldn’t we a vital part of both domains: searching for the formerly start establishing a cultural and artistic discourse unknown or unconscious or, at least, looking at the about it right now?

118 119 EXHIBITIONS / The Practice of Art and Science / Space Art

Nicole L’Huillier (CL), Sands Fish (US) Chrisoula Kapelonis (US), Carson Smuts (ZA/US) Telemetron Spatial Flux

The Telemetron is a musical instrument designed Spatial Flux is a seamless pneumatic surface that explicitly for performance in the zero gravity environ- morphs to embrace the human body in zero gravity. ment of space. Leveraging gyroscopes and wireless This project redefines our relationships with surface data transmission, the instrument transforms the and volume in architecture. The surface is in constant poetic motion of the internal chimes into musical flux—allowing for new temporal possibilities between notes. The performance is a dance between human the body and the architecture.

and non-human bodies and explores a new body MIT Media Lab, City Science Group language for music. Steve Boxall Steve Steve Boxall Steve Engineering Assistance: Thomas Sanchez Lengeling MIT Media Lab, Opera of the Future

Ani Liu (US) Smells for Space Xin Liu (CN) Olfactory Time Capsule for Earthly Memories

Orbit Weaver This is a set of olfactive tokens containing precious smells of Earth for future cosmonauts. Speculating Is the weightless state a moment of true autonomy on a future where some might embark on a one-way or does the ungrounded body simply lose control? trip into space, this project investigates the sensory Inspired by the three-dimensional mobility of arach- modalities of memory beyond the digital. In addition nids, Orbit Weaver uses a hand-held device to regain to terabytes of data, what other forms of communi- control of her body and move freely through weight- cation and connection might we invent for an extra- Steve Boxall Steve lessness. The device shoots strings out and rewinds Chron Rob terrestrial future? to drag the weightless weaver, transforming her into a “spider woman,” weaving her web in space. International Flavors and Fragrances Inc.

Costume design: Andrea Lauer

Juliana Cherston (US) Ariel Ekblaw (US) Grappler TESSERAE Arrays of bistable elements for landing distributed Self Assembling Space Architecture sensor networks on low gravity bodies Can a modified snap bracelet be used to land infra- TESSERAE demonstrates a self-assembling geodesic structure on an asteroid? Grappler is part of the mis- dome structure for future space habitats in orbit. The sion concept in which a rope or a net is used to grapple “Tessellated Electromagnetic Space Structures for onto a low-gravity body of interest. the Exploration of Reconfigurable, Adaptive En­viron- The net doubles as infrastructure for a network ments” (TESSERAE) prototype has been tested in zero of tiny crawlers that move across the net’s surface, gravity, and explores the use of natively embedded primarily for applications in in-situ distributed sensor networks and magnetic jointing for in-space, sensing. floating assembly. MIT Media Lab, Responsive Environments, Pl: Joseph Paradiso MIT Media Lab, Responsive Environments, Pl: Joseph Paradiso

120 121 EXHIBITIONS / The Practice of Art and Science / Space Art

Florian Voggeneder (AT) The Kepler Station

A space station on Mars, habitat of space sojourners, three-year investigation into astronautic space travel. who, far from their home planet, live isolated from the To be admitted into the one-month AMADEE-18 ana- hostile environment. Extravehicular activities behind logue Mars Mission in Oman, Florian Voggeneder had the mountain ridges at the horizon. The series The to complete a multi-month educational and ­physical Kepler Station depicts scenes of a Mars simulation program at the Austrian Space Forum. As a field crew that serves to gain insights for future flights to the member, he participated in research studies and neighbor planet and documents the endeavor of volun- ­conducted various experiments. teers and researchers to grasp another planet. Following the original idea of a speculative, alpine space program, this work is the preliminary result of a With the support of Austrian Space Forum

Gregor Göttfert (AT), Florian Kofler (IT) SPHERE

The installation SPHERE is comprised of a 65 cm the globe and with them the changed dimensionality (25.5 inch) orb. The shimmering sphere seems to hover of SPHERE: no longer is it just an image of purely spa- in the darkness of the room. Optical sensors slowly tial dimensions, but rather the factor of time, which circle the object, scanning and monitoring the envi- manifests itself temporarily on the surface of the ronment like radar and projecting a transient image of object through optical distortions and compressions. time and space onto the phosphorescent surface of the The slowly fading images offer a visual reflection on globe. Visitors and spectators become recognizable on our very existence at the surface of a sphere.

122 123 EXHIBITIONS / The Practice of Art and Science / Space Art

Nahum (MX/DE) The Contour of Presence

On June 29, 2018, a SpaceX Falcon 9 rocket launched immersed in an intimate narrative unfolding simulta- from Kennedy Space Center—half artwork and half neously on Earth and somewhere in outer space. The ethereal presence. The Contour of Presence makes resulting encounter will become the stage to reflect on use of an object called Pulse that is currently orbiting how existence is not an individual affair and how we Earth in an elusive time and place onboard the Inter- are closer to each other beyond distance and borders. national Space Station, where it was brought by the Falcon 9 rocket. Through a series of interactive video This project is a collaboration between Nahum Studios and the performances, this ethereal presence will tell a story in International Space University. The artwork will travel to the International Space Station with the new ICE Cubes Service by real time to explore the meaning of presence and the Space Applications Services in conjunction with the European politics of existence. Audiences will find themselves Space Agency. NASA

Miha Turšič (SI/NL) KOSMICA Parliament

KOSMICA Parliament is a series of performative events quote from Apollo 13; however, space activities have featuring the artistic community of Ars Electronica and always been plagued by errors and mistakes. KOSMICA their views about human activities in outer space. Parliament will invite the Ars Electronica community Inside a space capsule, artists will be welcome to to actively reflect on these issues in order to envision give a performative statement about the errors of novel ways of exploring and inhabiting space through space exploration. This kaleidoscope of critical views emerging understanding of relations between human- will ­create the arena to collectively reflect on these ity, non-terrestrial environments and technologies.

issues and inspire new modes of human becoming in Artistic director: Miha Turšič (SI, NL) outer space. “Failure is not an option” is the famous Production: Kosmica Institute, Waag, KSEVT

124 125 HIMATSUBUSHI TRAIL

For the first time the Ars Electronica Festival is climbing the heights of the roof of POSTCITY. Remote locations directly under the roof of the postal machine also offer exciting views and insights. Himatsubushi promises time to stroll, discover and waste time. The Himatsubushi Trail consists of three vital parts—Lab, Trail and Lounge. In the lab, visitors experience prototypes from five international research and design teams. The trail is dedicated to distraction and contemplation, lined with works of art on the subject of time and productivity for man and machine of the future. The lounge entices with distraction and relaxation, with a view similar to a desired summit. EXHIBITIONS / Himatsubushi Trail

Himatsubushi Yasuhiro Suzuki (JP) The Art of Time Killing Aerial Being

Humanity has become richer than ever before due times, void times; where there is nothing required Aerial Being has been produced in varying sizes rang- to creative energy and rational/efficient systems. to be done, times that need not be spent efficiently ing from 1 meter to 30 meters, inflated using air from Continuous trial and error have driven us to be more or used productively, moments of mind wandering, numerous locations around the world. From some- efficient and productive, to the extent where we are moments of finding new ways to play, moments of thing small on a molecular level to a vast size that overwhelmed by the furious speed of progress. We departing from everyday life whilst still being in it. encompasses the air within the atmosphere – it envi- feel as though we are left behind by the system we’ve sions as an ideal the manifestation of beings that generated through history. To have another understanding of Himatsubushi and are omnipresent and transcend scales perceivable by Behind this was a big dream. A dream to be freer from what lies within this moment can bring us new insights human beings. Kuuki which is the word for “air” in labor and stress, a craving for culture and leisure to into our perspective on the future. Japanese, harbors meanings such as the emotions of reclaim our life on a human scale – to become more the people who are there as well as the atmosphere. human. On the other hand, as we are coming closer Is himatsubushi a beautiful luxury to retain your While elusive and ephemeral, it is an ambiguous con- to realizing this dream, calls are arising for a sense of true self? cept that at times can exert a highly dominant sense of purpose in life through labor and rationality, also in Is himatsubushi something that should be removed power within society. Aerial Being is perhaps a mediat- order to become more human. We are going back and because it’s a waste for productivity? ing presence that while being something familiar can forth, not knowing how to balance the two ambivalent Is himatsubushi a tool for unleashing more produc- lead us to consider things we often are not particularly ways of being authentically human. tivity and creativity? aware of. One realizes in the first place, that it is only There are many discussions on labor, productivity, effi- natural for a balloon to inflate with air that is invisible Is himatsubushi a way to hack the blind belief in ciency, optimization, rationalization, for these are the to the eye – so much so, that no one today thinks of it optimization or does it assist it instead? overt characteristics and values of our current society, as anything out of the ordinary. and topics that are already widely discussed. But is Maybe Aerial Being is like an afterimage, or traces of the future of humanity only about such things? How The Himatsubushi Research Team, which consists of a presence that comes to our minds after leaving the can we highlight the other side of human activities, several groups of research labs, is throwing open the place we had once seen with our eyes. It harbors the moments where humans are sensual, relaxed and irra- rooftop area of Post City in the context of Ars Elec- atmosphere of the place and invites the people who tional “beings,” in order to update our discussions? tronica Festival 2018. have gathered there to participate in its landscape. Welcome to the Himatsubushi Zone & Himatsubushi Blending into its surrounding environment due to its ; Himatsubushi – A Japanese term for a playful Trail, where we explore the art of time killing. transparency, it serves to transform familiar places time-killing. into a fresh scenery that extends beyond context and meaning. Hima emerges when a meeting is canceled, waiting for a delayed train, waiting for the app to be down- loaded — these are wasted times, empty times, free Text by Himatsubushi Research Team

128 129 EXHIBITIONS / Himatsubushi Trail

Yasuhiro Suzuki (JP) Balance Scale for Lightness

Air bubbles gather slowly beneath a pair of plates that float upside down in water. An attempt to reverse the relationship between “heaviness” and “lightness” under water had incidentally resulted in an interesting aspect of the accumulated air overflowing at unex- pected times. The gaze of viewers became fixated on the swelling surface tension and the state of balance in which the bubbles barely maintain their steadiness, seemingly able to overflow at any moment. Upon repeated obser- vation, it becomes possible to recognize the signs of change. Nevertheless, one cannot determine when the bubbles will actually overflow. The work transcended the intentions of its production to give rise to a space that endlessly continued to draw the attention of the viewer.

Yasuhiro Suzuki (JP) Yasuhiro Suzuki (JP) Nature’s Time Metronome Apple Kendama

1 second, 1 minute, 1 hour, 1 week, 1 month, 1 year, 10 A Kendama is a toy with which one plays on a worldly imagination. By making the red ball into an apple, years, 100 years, 1000 years, 10000 years. The interval scale, against the very gravity of the earth. In extend- one came to consider how perhaps Kendama’s roots of the metronome can be adjusted accordingly. The ing one’s awareness towards the “earth” that exists could be traced back to the game of capturing an apple way we look at various elements such as people, the beyond the Kendama as a medium, the red ball was that could fall at any time from the tree on the tip of trees, ocean, mountains, and the sky, changes in cor- remade in the shape of an apple in keeping with New- a stick, leading perhaps to contemplating this risky respondence to this metronome. The work considers ton’s law of gravity. The Japanese notion of “associ- game of challenging an unpredictable entity that the means by which we engage with the time inherent ation” that connects two things such as the “moon” exists between oneself and nature. within things that appear unmoving, things where we and an “apple” that are superficially quite unalike Perhaps mankind created Kendama in various parts of cannot measure their change. one another, also bears links to a scientific image of the world and has continued to practice playing with it the world founded upon the continued discovery of as a means to confront the unpredictable phenomena perspectives that transcend human perception and of the future?

130 131 EXHIBITIONS / Himatsubushi Trail

Erwin Wurm (AT) ONE MINUTE SCULPTURES

As an artist Erwin Wurm devotes himself to the encyclopedic enlargement of the concept of sculptures. He has been evolving ONE MINUTE SCULPTURES­ since 1988 where he deals with the connection between sculpture and everyday life, the border between sculpture and action, time and duration, as well as the reproduction of sculpture and its interaction with the public. They are characterized by their absurd and paradox subtle tensions, and represent succinctly drawn instructions for changing protagonists to utilize a number of different utensils in the creation of temporary sculpture. Shintaro Wada Shintaro

Jun Fujiki (JP), Katsuhiko Tabei (JP), Tomihiro Akagawa (JP) etheroid

An etheroid is a device working as a medium to purpose communication module called XBee. First, the embody the existence of an invisible “something” “current” etheroid uses XBee to transmit information in space. Each of these etheroids, these objects, will to all of the etheroids and to emit infrared LEDs. Next, propagate its movement to one of the surrounding the etheroid which received the infrared LED transmits etheroids repeatedly. There is no God who orders the its information back to the current etheroid so it is etheroids; each of them acts autonomously. From the able to build a list of information for the surrounding movement of all of the etheroids together, a “some- etheroids. thing” that can’t be seen, appears to be jumping from This information list corresponds to a temporary one etheroid to another—thus coming into existence ­storage area. The system randomly selects one from in its invisibility. the list and sends the information to the chosen ether- We decided to use an infrared LED that illuminates oid. Since the list is constantly updated, the operation light invisible within a certain range and a general-­ will continue even if an etheroid is removed.

132 133 EXHIBITIONS / Himatsubushi Trail

Yoichi Ochiai (JP) University of Tsukuba, Ochiai Laboratory, Digital Nature Group (JP) Wavefront of Life: Kandagawa What color do you imagine on the surface of mono- behave subjectively, if trained based on personalized Naturalization of Technology chrome water? datasets? What colors will a neural network as an The colorization is a subjective process in our mind. “externalized” artist use/see? Towards Japanese Aesthetics Yet, image coloring by AI is becoming common. How- The project explores the external-subjective process ever, there is a limit to the accuracy of coloring by only using a neural network that only learned from Yoichi Digital Nature is a concept that underlies our work. We deep learning in order to explore new ecosystems in learning generic datasets. Will the neural network Ochiai’s photo dataset. were given two further themes to incorporate into this the digital age. exhibition: “Beauty of Natural Resolution” and “End These prototypes are different from modern standard- to End Transformation of Material Things”. Based on ized social forms, modern mass production formats this combination, we described the exhibition as “an or mass communication. They define their view of attempt to update our aesthetics to the extent, where the world as computationally incubated diversity, and we sense something as being natural in our industri- by tackling the expansion of the body as well as the alized times.” production process, audio-visual communication by Yoichi Ochiai (JP) An important theme for this exhibition is the verna­ holographic wave engineering for individual commu- cular industrial society. To people living in advanced nication, and machine intelligence. Morphing Iterations of Vase and Flower @Ippei Suzuki technological societies, “nature” is no longer the same We are trying to figure out the digital-age ecosys- (Pixie Dust Technologies, Inc.) as it was, when humans first emerged back in prehis- tem by these emerging technologies. This is what we tory. We consist of over 40 people including students, always keep in mind in the process of combining art, What color you imagine on the surface of monochrome work behave subjectively, if trained based on person- researchers and professors who are interested in Wave science and technology, thereby trying to solve real water? The colorization is a subjective process in our alized datasets? What colors will a neural network as Engineering / Machine Learning / Material Research. social problems by these technologies. mind. Yet, image coloring by AI is getting common. an “externalized” artist use/see? The project explores Our intent is to promote research and development not The Digital Nature concepts are combined with the However, there is a limit to the accuracy of coloring the external-subjective process using a neural network only for academic reasons but within the broader soci- ancient Japanese aethetics “wabi-sabi”, defining it as by only learning generic datasets. Will the neural net- that only learned from Yoichi Ochiai’s photo dataset. ety. From the viewpoint of computer science research, “stabilization of the instability between complexity we are prototyping systems combining wave engineer- and simplicity through the iterations towards Nature”. ing, bio- and meta-materials of digital fabrication and

Yoichi Ochiai (JP) Structure of Industrial Nature

Since the 19th century trains have traveled on rail- is one of the dynamic components of the garden – like roads which enable them to move with less friction a fountain or a windmill. This installation fuses Japa- and these structures are a component of dynamic nese garden style and industrial structures to create ­cities. If a city is regarded as a box garden, the railroad dynamics and wabi-sabi.

134 135 EXHIBITIONS / Himatsubushi Trail

Yoichi Ochiai (JP) Riku Iwasaki (JP), Yoichi Ochiai (JP) Wavefront, Reflection, Pointillism of Sunlight and Sea Impulsed Air Chime: Insect / Impulsed Air Chime: waves@IppeiSuzuki (Pixie Dust Technologies, Inc.) Fish@IppeiSuzuki (Pixie Dust Technologies, Inc.)

Mackerels’ body patterns are optically imitating the mackerels. This optical mimicry of mackerels is a Wind chimes are traditional Japanese furniture. Here plasma shakes the atmosphere, and its digitally sea and the sun. Here, the GAN process can be seen naturally generated scenery of horizons. It shows is the plasma chime, which, activated by high volt- generated randomness makes the sound of natural in their natural texture, a natural survival strategy. us “wabi-sabi,” the stabilization of instability age, produces the impulse-sound in the glass tubes phenomena. The sound from the industrial structure The canvas in this project is covered with stretched between complexity and simplicity through the with metallic structures. This impulse-plasma-chime of glass and machine permeates into the perspective silver and painted with high resolution textures of iterations towards nature. mimics the sounds of insects or fish. The generated of Digital Nature.

Kohei Ogawa (JP), Yuta Sato (JP), Atsushi Shinoda (JP), Yoichi Ochiai (JP) Chun Wei Ooi (JP), Yoichi Ochiai (JP) Chrome Beyond the Iris

Chrome is a black Chinese calligraphy which is drawn three-­dimensional art by two-dimensional shades of Beyond the Iris is a visualization of the light merged by femtosecond laser. It has a meta-material structure Chinese ink. “ ” expresses Japanese “ ” by using by our eye lens. The light undergoes a Fourier trans- that looks super black as it absorbs more than 99% optical characteristics and making it a perfect 2-D rep- formation, where the retina senses it and decodes it of the light. resentation. Moreover, the black of this work cannot into the world as we know it. This work brings new Chinese calligraphy is commonly referred to as being be reproduced with natural objects. perspectives of the raw information our eyes receive into a dimension that we can process.

136 137 EXHIBITIONS / Himatsubushi Trail

Yuzuha Ito (JP), Riku Iwasaki (JP), Yoichi Ochiai (JP) Dmitry Morozov / ::vtol:: (RU) “Kesa” for lantern telekniting “Kesa” is the costume that a Buddhist monk wears. As Buddhist monks could not possess private prop- The concept of the project is to transform the tele- with ink-ingrained sponges; the ink can be of 5 basic erty, they made “Kesa” to cover themselves by joining vision signal into a multicolored thread that wraps colors: red, yellow, green, blue and black. The sponges together torn pieces of cloth. This work is the “Kesa” around objects installed on a rotating table. The press the white thread in the special thread-stretching for lantern, which was made using three-dimension- installation picks up a TV signal in real-time mode device and color it. The concept of the project is to iron- ally shaped silk fabric produced by silkworms. The and scales it down to a single-pixel image. A special ically transform and reduce the trivial and annoying cloth lights in computationally fabricated organic program gradually lowers the digital image resolution. data stream into a creatively different kind of inter- shapes. This artwork inherits in its visual representa- Each time the number of pixels is cut by half, until the pretation. A one-dimensional materialized lo-fi stream tion a classical Japanese way of lighting. image becomes a single pixel, the color of which is the covers and mantles familiar objects. one dominating in each specific frame. The program recognizes and interprets the color, giving the device ::vtol:: 2016 commands to activate arms. The arms are rigged Special for Polytech Fest, Moscow, 2016 Shinnosuke Ando (JP), Yoichi Ochiai (JP)

In Zen there is the word “ ”. This word means “if you look at things without being trapped by bias, everything is one and only.” In the anecdote behind this word the teacher preached this lesson through perception of the sound of rain. This work provides the reliving of this word through perception of the image projected on the falling beads.

Kohei Ogawa (JP), Tatsuya Minagawa (JP), Yoichi Ochiai (JP)

is a 3-D printed vase that interacts with water. This vase expresses flowing water by capillary action. This property is provided by the capillary effect. We created a structure with a lot of thin tubes inside the 3-D model, which causes the capillary effect. The fresh color expression is realized by capillary action of water colored with edible pigment inside the 3-D print model made of transparent material.

138 139 EXHIBITIONS / Himatsubushi Trail

Jiwon Woo (KR) Mother’s Hand Taste (Son-mat)

Mother’s Hand Taste explores the complex relation- authenticity, and preservation of cultural ­heritage. ships between intangible cultural heritage, micro­ Mother’s Hand Taste involves social research, biology, immigration, and notions of a “transient ­laboratory work, computational design, and additive self”. Woo experimented with the control and devel- manufacturing technology. Its main outcome is the opment of generational inheritance by visualizing and creation of a conceptual and mechanical object aimed then bio-fabricating the hand yeast of multi-genera- at capturing, storing, and growing one’s own son-mat— tional family members across four global locations, to specifically, to be used in the brewing of the traditional examine its effects on the taste of fermented food. Korean fermented rice wine, Makgeolli.

By Investigating “hand taste” through artistic and With the support of Han Wösten / Utrecht University / Bio Art scientific means, it reflects critically on the origins, and Design Award

Kyoko Kunoh (JP/AT), Hideaki Ogawa (JP/AT) Flower of Time

The Flower of Time is a participatory installation to create flowers and collect ideas of “rest” for different scales of time. Clock hands with different rotation speeds, such as 1 minute, 1 hour, 1 day, are lined up on the wall. Around the axis, many petals are posted by visitors to express the idea of resting. Depending on the situations and individuals, the idea of time is elastic. This project aims to visualize the sense of time.

Henneke Wetzer Henneke Ars Electronica Futurelab (Kyoko Kunoh, Hideaki Ogawa)

140 141 EXHIBITIONS / Himatsubushi Trail

Lisa Aoyama (JP) The Dive

The Dive is a series of tanks filled with blue, viscous precisely the “error” that separates us from machines; liquid, with bubbles being discharged from the bottom. that makes humans such complex beings. It is perhaps By gazing at the organic movement of the bubbles, the necessary—and ultimately effective—escape from thought gradually ceases and gives way to a deeper the monotonous routines of daily life, in which our dive into the mind, inducing a connection to the sub- minds are constantly saturated with information. conscious and allowing viewers to enter a meditative

trance. I believe that this peculiar state of mind is Lisa Aoyama, Tokyo University of the Arts B. Bokashi

MiND X (JP) Comfort ZONE

The act of praising someone was once delivered because they want to experience things. through a weighty process like letters, sentences, But we may think that this behavior of seeking dialogues…In recent years, social networks have approval has been something we were waiting for, the penetrated the lives of people and made this action a act itself possibly might have been the hidden value we daily phenomenon. had craved. Given the choice, would you rather obtain This is an era when praise for individuals has become satisfaction through the approval of others, or refuse visible, not in terms of depth or weight but in terms approval and prioritize personal contemplation? It is of numerical values. This has created a lifestyle that for us and the people of the future to decide whether could also be called “approval supremacy”; people this is an error or not. How should we face the evolved create experiences to earn praises, rather than acting modern society and how should we live? Risako Aoyama Risako

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Ryo Hashimoto (SG) Slow Yihyun Lim (US), Kacper Pietrzykowski (PL), Andrea Piccolo (IT), Patrik Dolo (IT), Stella Kim (US), Minh Dinh (VN) “Hima” is a Japanese word for “time when there is nothing to do.” That kind of time is often considered negative and dull. Break Time Experience However, most people in today’s society are swamped The Delightful Moment of Time Killing with tasks, therefore their minds are full of their own duties and there is less time to think about what indi- viduals want to think about. In other words, there is Take a break with us. Stare out the window, look into less “hima” in individuals’ minds. “Hima” may seem yourself, talk to strangers, and listen to bits of stories to be an unproductive time, but if we interpret it in left behind. We are asked to spend our time efficiently, a positive way, “Hima” is a time when people could productively and wisely. But perhaps, creativity and freely think about what they want to think about, and human experiences come from in-between moments, that is very human. I propose a new type of pen, a in our “break-times”, where it’s ok to “kill-time”. daily tool in which positive “hima” is embedded. Pens We want to re-imagine our break experience. What are one of the tools that most people have experience if we could have a break that heals you emotionally, using and are often used in the process of completing or connects you to unexpected acquaintances? With daily tasks. This is a proposal for tools that allow you inspiration from our day-to-day breaks such as smok- to obtain “hima” and an opportunity where each and ing, coffee, and meditational breaks, we augment an everyone’s mind can freely wander in everyday life. ordinary break into a sensory, emotional, surreal and social experience. The installation brings the experi- Ryo Hashimoto, Tokyo University of the Arts ence of the daily ”object” to the forefront. We want to focus on the sensory, tactile, portable, and shar- able qualities of our break-mate, which bring social and personal ­experiences to people’s daily lives in a very personal and unexpected way. We have embod- ied the break experiences in to objects of everyday: Noga Sapir (IL) the Cup, the Book, the Card, and the Window. The installation reflects some of the fundamental human Reflect values and interactions which are embedded into everyday objects. These objects are designed to pro- vide, ultimately, a better human experience. Imagine REFLECT is a series of smart knit orbs that combine you’re taking a break with these ordinary yet smart design and technology to create a unique calming objects. We hope this installation gets you to think experience. The orbs detect stress and help the user about what taking a break means and how we can practice relaxation techniques to reduce anxiety. The create this experience in the future. Walk into our cafe, orbs sense how stressed the user is by measuring the where extraordinary experiences are embedded into skin conductivity level, a physiological parameter that ordinary objects. correlates to stress, and respond with soft, changing LED lights. Yihyun Lim, Kacper Pietrzykowski, Stella Kim, Minh Dinh, Andrea Piccolo, Patrik Dolo The resulting experience aids relaxation through the And IXD—Innovation by Design

therapeutic process of biofeedback, in which the user Yosef Ben Ahikam is made aware of his/her physiological parameters. By Tencel yarn that is made in an environmentally friendly acknowledging them the user learns to gain control process. LED lights shine in soft pulses, creating over them and affect his/her health and well-being. a quiet and pleasant experience that enhances the­ The main body of the orbs is knit with hand-dyed ­intimate relationship between the user and the orb.

144 145 DEEP SPACE 8K

The Ars Electronica Center offers its visitors something that can not be found anywhere else in the world: 16 x 9 meters of wall and another 16 x 9 meters of floor projection, laser tracking and 3-D-animations make the Deep Space 8K something very special indeed. Furthermore, Deep Space 8K presents challenging infrastructure to media artists. As they go about adapting existing works and, above all, designing installations custom-made for this space, they’re entering artistic terra incognita. The position of visitors amidst the projection surface and participation by them call for a well-thought-out aesthetic composition and concepts for the resulting dynamics. EXHIBITIONS / Deep Space 8K

Memo Akten (TR) WAVES Inspired by the well-established history of both artistic and scientific study on oceans and oceanic waves, WAVES is a data dramatization of complex ocean simulations, distilled and re-imagined in the form of abstract visuals and sounds. An ongoing series of studies that investigate the tension and delicate balance between the immense power and incredible fragility of the oceans; simultaneously mighty yet delicate; calming yet terrifying; graceful yet violent; a symbol of fear, danger and death as well as hope, freedom and life.

Memo Akten Earlier WAVES studies: WAVES 2014 series. Original score by Rutger Zuydervelt (Machinefabriek) Ars Electronica / Christopher Sonnleitner / Christopher Electronica Ars 148 149 EXHIBITIONS / DeepHEADLINE Space 8K

Ouchhh (TR) dastrio (DE/KR) & Ouchhh (TR) POETIC AI _ ERROR “SAY_SUPERSTRINGS“ Are you ready to experience the art of imperfection, The concert is dedicated to Turkish composer Fazil Say in the universe while micro-strings vibrate (Subatomic which is made with the poetic refraction of AI? These and played by the South Korean/German trio. The visu- Particles) in real time and define the melodies cre- refraction errors are created by using machine learning alization is provided by the new media studio OUCHHH ated by the notes as “Matter” and symphonies of and AI algorithms. We create a “scientific conscious” and especially created for the Deep Space 8K at Ars these melodies as “Universe”. With dastrio, Ouchhh Poetic Refraction of AI reality—the errors it learns are Electronica Center in Linz. will take 11 dimensions in abstract directions in super from millions of lines of theory, articles and books What if matter is nothing but notes coming out of a grade gravity theory and move them beyond space in about light, physics and space-time, written by scien- vibrating string? real time. The dimensions captured intuitively in living tists, who change the destiny of the world and write According to superstring theory, all matter in the world space will constantly change and turn into reality. history. is made up of one thing: vibrating thin strings. These strings, which vibrate at different resonances, bring Direction_Design_Animation: Ouchhh (ouchhh.tv) everything into existence in the known universe. Mat- Fazil Say: Sound Design: AudioFil ter consists of small strings. When these strings are “Space Jump” for piano trio pulled in a certain way – just like a violin or guitar string Sonata for Violin and Piano dastrio: – they create a frequency. Therefore, the pitches/notes Bernhard Metz – Violin occur. We have become aware of the existence of the Manuel Von Der Nahmer – Violoncello little notes that these superstrings create, and we Suyang Kim – Piano OUCHHH: realize that the universe is a symphony, and all the Ferdi Alıcı physical laws of the universe fit these superstrings. Eylül Duranağaç Alıcı Ouchhh will take inspiration from the notes that exist Atay İlgün

150 151 EXHIBITIONS / Deep Space 8K

Sophie Amelin (AT), Jeremiah Diephuis (US), Georgi Kostov (BG), Marlene Mayr (AT), Tobias Sichmann (AT), Eric Thalhammer (AT)

Şehmus Poyraz Birusk Poyraz Şehmus City Lights After a power outage, the city of New Orleans is in ­spectators feel as if they were actually looking down complete darkness. Players have to collectively solve the street. puzzles and cleverly guide and manipulate rays of light City Lights was created in the course of a semester with prisms, lenses and mirrors to bring the city back project by Media Technology and Design students to life. from the Hagenberg Campus of the University of The interaction with the game world is made possible Applied Sciences Upper Austria in cooperation with via a laser tracking system, which tracks the current the research group Playful Interactive Environments positions of the players. The life-sized stereoscopic and was specifically developed for Deep Space 8K at visualization of Bourbon Street on the immersive the Ars Electronica Center. , Gerhard Funk , Gerhard 16-by-9 meter wall projection makes players and Playful Interactive Environments / FH OÖ Campus Hagenberg Kaleidoscope

Gerhard Funk (AT), Christian Berger (AT), Şehmus Poyraz Birusk (TR), Clemens Niel (AT), Fabian Terler (AT) Cooperative Aesthetics — Next Edition The main idea behind the concept of Cooperative Ars Electronica and the study program “Time-based Aesthetics is to build an immersive, interactive space and Interactive Media” at the Art University of Linz, in which the users can produce a collaborative audiovi- where Prof. Gerhard Funk and his students have the sual aesthetic experience. Using the whole floor as an opportunity to use the Deep Space 8K with its laser interface, people can influence and animate the audio- tracking system. For this year’s festival, new selected visual outcome by their positions and movements. An works from this series will be shown. essential aspect is the interaction between all users, their communication and collaboration. So the concept Kaleidoscope: Gerhard Funk (AT) of Cooperative Aesthetics has a strong social compo- Critical Mass: Fabian Terler (AT) Particle Collage: Christian Berger (AT) nent to bring people together. Cooperative Aesthetics Sound Towers: Sound: Gerhard Funk (AT), Clemens Niel (AT) is the result of a close long-term cooperation between Particle Flow: Şehmus Poyraz Birusk (TR)

152 153 EXHIBITIONS / Deep Space 8K

Jürgen Hagler (AT), Andrea Aschauer (AT), Jeremiah Diephuis (AT) House of Medusa The Virtual House of Medusa (VHM) is a supervised, cooperative VR Experience between the VR player seated virtual-reality (VR) installation, including one and the audience. Audience members have the abil- VR player and up to four fellow co-players. By put- ity to interact directly with the VR player and control ting on a head-mounted display (HMD), the visitor their own individual point of view of the virtual world. enters the installation and can switch between the Using tablets combined with positional trackers, the four virtual stations via gaze interaction. Using a VR co-players can look into the VR world, and via touch- controller, the player can interact with the virtual world based interaction, give the VR player hints. This allows and grab digitized fragments of the fresco to slip into co-players to move freely in the physical, tracked space the role of the restorer. An additional perspective is and view the VR world from any direction, regardless provided by a public display that allows spectators to of the perspective of the VR player. watch the virtual experience. A majority of VR installations are designed as single- Team: Andrea Aschauer; Jürgen Hagler; Michael Lankes; user experiences, and do not typically facilitate com- Jeremiah Diephuis; Wolfgang Hochleitner; Georgi Kostov;

munication or interaction between multiple partic- Project Partners: Federal Monuments Authority Austria; ipants. In contrast, the VHM is constructed as a Kunsthistorisches Museum Wien Ars Electronica Center Electronica Ars

Ali Nikrang (AT) Creative IA — Style Transfer StyleTransfer is a technique from the field of artificial intelligence (Deep Learning) with which everyday images can be transformed into an artistic and paint- erly style. This project uses a stereoscopic video from the Streif in Kitzbühel. This is one of the most difficult and dangerous downhill slopes in the world. As far as we know, this is the first time this technique has been applied to a stereoscopic video. Another special feature of this project is the 8K res- olution: For this purpose, too, a technique from the field of Deep Learning is used, which quadruples the resolution of the original video. The result immerses the audience in the forms and colors of the artists Wassily Kandinsky and Roy Lichtenstein and lets them experience the Streif as a three-dimensional painting in Deep Space 8K.

Ali Nikrang (Ars Electronica Futurelab) Juliane Leitner (Ars Electronica Center)

FH Hagenberg FH Thomas Kollmann (Ars Electronica Center)

154 155 EXHIBITIONS / Deep Space 8K

Fraunhofer MEVIS (DE), Media Art Nexus NTU Singapore (SG) Before Us Lies Eternerdy

The short movie shows different scales of the human body, from digitized microscopic lymphoma tissue examined with the molecular cytogenetic technique Fluorescent in situ hybridization (FISH) to detect abnormal changes in DNA, to 3-D reconstructions of a liver as well as a whole-body MRI. At a simultane- ous launch at Ars Electronica’s Festival and Media Art Nexus NTU Singapore, we will talk with Ina Conradi and Mark Chavez in a live video call about how art can contribute not only artistry and a sense of awe to removing barriers for engagement with severe health topics, but also as a transdisciplinary approach to innovation in digital medicine. The movie marks the beginning of the cooperation of Media Art Nexus NTU Singapore and Fraunhofer MEVIS, which will provide techniques, tools, scientific expertise and an educa- tional environment for students from NTU Singapore in Bremen, Germany.

Fraunhofer MEVIS; FISH data kindly provided by ZytoVision Fraunhofer MEVIS Fraunhofer Fraunhofer MEVIS (DE): David Black (US), Henning Höfener (DE), Bianka Hofmann (DE), Andre Homeyer (DE), Alexander Köhn (DE), Mathias Neugebauer (DE) In cooperation with Media Art Nexus NTU Singapore (SG): Ina Conradi (US, SG) & Mark Chavez (US, SG) Fraunhofer MEVIS (DE) Project integration Singapore: Media Art Nexus, Nanyang Physicians’ Colleague, Patients’ Helper: Technological University Singapore, Ina Conradi and Mark Chavez ZytoVision The Cognitive Computer Mr. Dr Wenzel from Fraunhofer MEVIS: Institute for Medical Image Computing introduces how deep neural networks contribute to the evaluation of medical data and how this also changes the role of physicians and patients.

Fraunhofer MEVIS: David Black (US), Alexander Köhn (DE), Bianka Hofmann (DE), Mathias Neugebauer (DE), Markus Wenzel (DE)

156 157 EXHIBITIONS / Deep Space 8K

Hans-Peter Bunge (DE), Bernhard Schuberth (DE), Markus Wiedemann (DE), Dieter Kranzlmüller (DE) A Journey into the Earth Hans-Peter Bunge, professor for geophysics at the evolution of our planet. The simulations were Ludwig-Maximilians-Universtät (LMU), Munich, performed on the supercomputer SuperMUC of demonstrates computer simulations which explain the the Leibniz Supercomputing Centre (LRZ), led by convection processes inside the earth’s mantle. Spec- Prof. Dieter Kranzlmüller, and visualized by Markus tacular animations show that some cold plates within Wiedemann at the Center for Virtual Reality and the earth move down into the core, while other warm Visualization­ (V2C). areas rise to the boundaries of the earth’s mantle.­ Ludwig-Maximilians-Universität München (LMU) / Professor Bunge will explain the physical processes in Leibniz-Rechenzentrum (LRZ) der Bayerischen Akademie der more detail, as well as their effects on the ­geological Wissenschaften Karina Lopez Karina

Victoria Vesna (US), Alfred Vendl (AT), Martina Fröschl (AT) Noise Aquarium Oceans and seas should never be considered as flat With their presence alone, participants create destructive blue interfaces or dumping holes for our anthropo- visual and audio noises, demonstrating how we are all genic remains — vast amounts of diverse organisms implicated by our inaction. live down there, adversely affected by our waste and noise pollution. Current scientific studies have demon- Artist: Victoria Vesna, UCLA Art Sci center strated how noise sources such as sonar and fracking Director: Alfred Vendl, Science Visualization Lab at Department DIGITALEKUNST/Ruth Schnell, University of Applied Arts Vienna influence large marine life with shocking examples Animation: Martina Fröschl, Science Visualization Lab at such as stranded whales and dolphins. However, Department DIGITALEKUNST/Ruth Schnell, University of almost nothing is known about the possible impact on Applied Arts Vienna marvelous microscopic organisms such as the plank- Programming: Glenn Bristol, United Motion Labs Audio mixing: Paul Geluso, NYU Steinhardt ton, and with the entanglement of micro plastics, Scientific imaging: Stephan Handschuh, University of Veterinary the ecological balance is further compromised. Noise Medicine, Vienna Aquarium utilizes 3-D-scans of these micro creatures Scientific imaging: Thomas Schwaha, Department of Integrative obtained with unique scientific imaging techniques Zoology, University of Vienna Sponsors: Gerald Bast Rektor, Ruth Schnell, Digital Art, and immerses the audience in the 3-D “aquarium” of University of Applied Arts Vienna; UCLA faculty research, diverse planktons projected as large as whales. UCLA Art Sci center; Harvestworks.

158 159 EXHIBITIONS / Deep Space 8K

Beyond the Frame: 8K Future Research Project Japan’s largest public broadcasting organization NHK than Hi-Vision to its audience. NHK meets Deep Space and Ars Electronica Futurelab joined forces in 2017 to 8K offers a glimpse into the joint research project examine how 8K, the next generation of ultra-high between the Ars Electronica Futurelab and NHK (for definition TV technology, can be integrated into daily more information see p. 368). life. The innovative broadcasting giant had already project by NHK (Japan Broadcasting Corporation) + started creating and using 8K footage on a trial basis Ars Electronica Futurelab a year earlier, providing a resolution 16 times higher Author: Vanessa Graf

IMMERSIFY

Ars Electronica/ Magdalena Sick-Leitner Magdalena Electronica/ Ars Virtual reality and other forms of immersive media During this year’s festival, the ongoing progress of have the potential to disrupt the entire media industry R&D is presented in the form of demos in the Deep with new user experiences that are more immersive Space 8K. Two time-lapse videos, one of Los Angeles and interactive compared to current video, cinema – Pano LA 10K – by Joe Capra (Scientifantastic) and and TV. In order to reach a mature state beyond the the other of Atacama Desert in Chile by Martin Heck Stefan Krausbar (AT), Michael Buchbauer (AT) current niche markets, the quality of experience of VR (Timestorm Films) are shown. Further Prima Materia GEMEINSAM.SICHER.FEUERWEHR media has to be improved in several ways. IMMERSIFY from NOHlab, a stereoscopic piece taking the audience is developing key tools for allowing the next gener- on an audiovisual journey, can now be enjoyed in 8K. With the education initiative GEMEINSAM.SICHER. DEEP SPACE LIVE ation of immersive media applications. IMMERSIFY FEUERWEHR the Austrian fire brigades would like to is a European R&D consortium funded by the EU’s PSNC – Poznan Supercomputing and Networking Center; Spin make an important and essential contribution to fire Horizon 2020 program and Ars Electronica Futurelab High-resolution image worlds in the format of 16 x 9 Digital Video Technologies GmbH; Ars Electronica Futurelab; and disaster protection education in kindergartens is one of the partners (for more information see p. 364). metres meet expert commentary. Deep Space LIVE Marché du Film – Festival de Cannes; Visualization Center C and schools. The pupils receive important information stands for insightful entertainment amidst impressive and educational download materials for training. The pictures. Further dates can be found at ars.electronica. Linz Fire Brigade and the Upper Austrian Fire Brigade art/dsl School will present a virtual fire brigade mission in Deep Space 8K, offering a new and modern way of Berufsfeuerwehr Linz und OÖ Landes-Feuerwehrschule training. An exciting firefighting event is imminent! Martin Heck

160 161 EXHIBITIONS / Deep Space 8K

Bela Usabaev (DE), Dawid Liftinger (AT), Florian Liesenfeld (DE) Old News From New Friends A video and an interactive sound installation share the 7062 Lines, Dawid Liftinger, Audiovisual Installation Deep Space 8K. While the video is decomposing cine- Audio: Sebastian Jazura Time, space, acceleration, experience. An examination of matic story-telling, the space is divided into acousti- horizontal polychromatic lines as a perception distorting cally shared rooms. The gaze and the ear are led down experiment. different paths for a moment and space for interac- metadigma, Florian Liesenfeld, Interactive Installation tion is created. Spontaneous collective experiences How individual is a world that one shares? How do you sensitize yourself to the perspectives of others? Metadigma is an inter­ become possible. The experience-building process is active installation for the cooperative consideration of one’s not guided by any rules, but only by the structure of the own environment. installation. However, not everybody shares the same Academy of Media Arts Cologne experience, and the amount of collective exchange is decided individually.

Tadej Droljc (SI) Singing Sand Singing Sand was inspired by the sonic potential of paradigm and how to meaningfully force it onto the abstract 3-D computer graphics. It explores how vari- grid of harmony and metric rhythm. In the latter case ous particle fluctuations, tensions or shape morphing the material created liquid grooves on top of dub- sound, the internal rhythms they create and how that tech influenced fixed rhythmic elements, as well in turn affects our perception of the visuals. as ever-changing spectral swirls that emerged from Grains of sand resembling visual particles are soni- cross-breeding an original noisy and non-stable sound fied by mapping their individual velocities to various source with a pitch-based material.

parameters of individual grains inside a custom-made Singing Sand represents a part of my PhD composition portfolio granular synthesizer. Velocities also determine the Special Thanks: Dr Alex Harker and Prof. Pierre Alexandre Trem- color of the particles, which together create a spectrum blay (PhD mentors), Centre for Research in New Music (CeRe- of colors and sounds. NeM), University of Huddersfield (Dennis Smalley scholarship in electroacoustic music), Ministry of Culture Slovenia (Scholarship The aim of the piece was to explore how such audio- for post graduate studies abroad)

visual material could function in a free audiovisual Mastering: Gregor Zemljič Manguen Bruno

162 163 EXHIBITIONS / Deep Space 8K

Benjamin Weber (AT) IPv4 Cube Anomalies An online error is usually an accident. Conversely, in 4.3 billion addresses are visualized. The addresses China, error is often intentional. Censors decide what pertaining to Chinese cyberspace are rendered in red. information will be displayed or not. In the latter IPv4 Cube: Anomalies is based on Benjamin Weber’s case, a message would alert the netizen: “Page not IPv4 Cube (2012), which was remastered and extended found.” This error message is an intentional anomaly for this year’s festival. that appears by the design of The Great Firewall of China. IPv4 Cube: Anomalies visualizes and sonifies A special thanks to cyber security researcher Valentin Weber the entire IPv4 address space (Internet) and indicates (University of Oxford), for his insightful advice and research during this project. I am also very grateful to the Center for Applied the Chinese cyberspace within—shielded by the Fire- Internet Data Analysis (University of California, San Diego) for wall. Often described as a “giant cage,” the Firewall providing the data that made this artwork possible. here is neither fixed nor stable, but fluid and dynamic. Benjamin Weber, digital artist and researcher living in Vienna, The IPv4 address space is traced and visualized as a Austria Valentin Weber, cyber security researcher at the University of cube. Each cube situated inside the larger IPv4 Cube Oxford represents 256 individual IP numbers. A total of CAIDA UCSD Anonymized Internet Traces 2018

Marko Ciciliani (HR/DE), Christof Ressi (AT), Barbara Lüneburg (DE) GAPPP — Gamified Audiovisual Performance and Performance Practice GAPPP: Gamified Audiovisual Performance and of game strategies and game-driven performer inter- Performance­ Practice is an arts-based research project actions are explored for their artistic potential. In the conceived and run by composer and audiovisual art- event in Deep Space 8K M. Ciciliani, B. Lüneburg and ist Marko Ciciliani. Since 2016 Marko Ciciliani, violinist C. Ressi will perform two works that emerged from the and artistic researcher Barbara Lüneburg, and musi- project, preceded by an introduction to the research cologist Andreas Pirchner have conducted this artistic design. research project at the IEM, the Institute of Electronic Music and Acoustics of the Kunstuniversität Graz, Partner: IEM (Institute of Electronic Music and Acoustics) of where they explored various possibilities for utiliz- the Kunstuniversität Graz/University of Music and Performing Arts Graz ing elements from computer games in the context of GAPPP is funded by the Austrian Science Fund FWF as part audiovisual works. Altogether a dozen new works have of the PEEK program for artistic research. http://gappp.net been ­created by six artists, in which the combination Supported by: FWF/Austrian Science Fund as AR364-G24

164 165 FEATURED ARTIST EXHIBITIONS / Featured Artist

Elisabeth Schimana (AT) Hidden Alliances— Elisabeth Schimana­ and the IMAfiction series In Search of Female Forebears Reinhard Mayr, Eleonora Bischof Eleonora Mayr, Reinhard

1998 and scorn for woman.” 1 But in an out-of-print book, 2002-03 Geschichte des Futurismus by Christa Baumgarth, This research manifested itself artistically in a perfor- After a decade of work in the electronic music/art I nevertheless found what I was looking for. field, I began to inquire into another story. In all the mance entitled Portrait 01—Die Futuristin. I interwove years of education and work in this male-dominated A TRACE my voice and face with those of Andrea Sodomka (fellow-traveler right from the start), Rebekah Wilson genre (with respect to both its teachers and practi- Futurist painters Umberto Boccioni, Carlo Carra, Luigi (aka Netochka Nezvanova / with NATO.0+55 soft- tioners), almost nothing had been imparted to me Russolo and Gino Severini staged their first exhibi- ware) and Tatjana Komarova (director of the elec- about women in the history of electronic music/art. tion in Paris in 1912. Their sojourn there provided tronic studio at the Yekaterinburg Conservatory) to And so I got started weaving new threads into the the painters with an opportunity to get acquainted form a fictional portrait. narratives. with artists of the Parisian avant-garde. Valentine de http://elise.at/projekt/Portrait-01-Die-Futuristin I began with Italian Futurism, which was founded by Saint-Point, the niece of Alphonse de Lamartines and Filippo Tommaso Marinetti. The noisy music favored an artist in this scene, hosted an evening of music 2005 by the Futurists, the music of machines, can possi- and literature, after which she joined the Futurists bly be considered the starting point of experimental and authored the Manifesto of Futurist Woman 2. This was the year in which Andrea Sodomka and electronic music. Luigi Russolo wrote about this in a “The women: the Erinyes, the Amazons; the I jointly established the IMA Institute of Media manifesto dated March 11, 1913, The Art of Noises. In SEMIRAMIS, JEANNE D’ARC, JEANNE HACHETTE; Archeology. For IMA, technology and art by women search of the female Futurist, I discovered ideological JUDITH and CHARLOTTE CORDAY; (...) May the next has a clearly positive interrelationship. Whether this principles in Italian Futurism, especially with respect wars bring forth heroines like CATERINA SFORZA. art is now produced by means of processing via devices to women, that made it seem highly improbable During the siege of her father-city, she looked out or programming computers is beside the point. The to come upon a fragment of female Futurism: from the ramparts and saw how the enemy threat- primary consideration is an active process of coming “9. We will glorify war—the world’s only hygiene— ened her son to force her to surrender. But she to terms with technological developments. militarism, patriotism, the destructive gesture of revealed her gender in heroic fashion and cried out: IMAfiction is the Institute’s portrait series dedicated freedom-bringers, beautiful ideas worth dying for, ‘Kill him; I’m fertile enough to give birth to others! ’ ” 3 to women doing electronic art with a focus on sound.

168 169 EXHIBITIONS / Featured Artist

What have appeared are video portraits of Liesl Ujvary (AT), Rebekah Wilson aka Netotschka Nezvanova (NZ), Heidi Grundmann (AT), Eliane Radigue (FR), Andrea Sodomka (AT), Maryanne Amacher (US), Anne La Berge (NL), Electric Indigo (AT) and Beatriz Ferreyra (AR, FR); the tenth portrait, my own, brings this series of five Austrian and five international artists to a preliminary close. Most of the artists made their own choice as to whom they wanted to be portrayed by. The results are homages that are aesthetically diverse, intimate, and not in enforced conformity with any conventional film format. Liesl Ujvary, portrait #01 portrait Ujvary, Liesl #04 Radigue,Elaine portrait https://ima.or.at/imafiction/ #07 portrait Berge, La Anne

2018 What has changed since 1998? The intensive encoun- ter with the world of ideas, the working methods and the music/art of female contemporaries and forerun- ners has enriched me and supplemented the overall account. Much still lies fallow—and thus a call goes out to musicologists and curators to cultivate this unworked soil. It’s the purposely focused gaze that brings different things to light.

In the exhibition entitled Hidden Alliances, 10 female Rebekah Wilson, portrait #02 portrait Wilson, Rebekah #05 portrait Sodomka, Andrea artists, pioneers of their time, tell rather a different #08 portrait Indigo, Electric story and together weave a fascinating network of interrelationships.

www.ima.or.at www.elise.at

1 Marinetti, Filippo Tommaso, Manifest des Futurismus, 1909 (read in: Geschichte des Futurismus, Baumgarth Christa, 1966, p. 26)

2 Valentine de Saint-Point, Manifeste de la Femme Futuriste, 1912

3 de Saint-Point Valentine, Manifest der Futuristischen Frau, 1912, (read in: Geschichte des Futurismus, Baumgarth Christa, 1966, p. 237, translated by Jean-Jaques) Maryanne Amacher, portrait #06 portrait Maryanne Amacher, Heidi Grundmann, portrait #03 portrait Grundmann, Heidi #09 portrait Ferreyra, Beatriz

170 171 GALLERY SPACES EXHIBITIONS / Gallery Spaces

Gallery Spaces

Since its successful launch last year, the Gallery Spaces as well as digital strategies for museums and estab- Program, deliberately written in the plural, has brought lished art collections. a large number of international galleries and collec- These workshops and roundtables also discuss how tions with their different positions on digital art to the digital art can be preserved in the long term and Ars Electronica Festival. how the many works created since the 1960s can be

But there is more to it than showing digital artists restored and preserved for the future. Mesic Tom represented by galleries - it is above all about the With its continuous work and experience in the pro- Summer of Love, Douglas Henderson changing conditions of creating and marketing art duction and presentation of media art and digital art under the impact of digitalization. since 1979, as well as the remarkable exhibition areas New possibilities and business models for positioning of “Postcity,” Ars Electronica is the ideal environment oneself in the digital online marketplace are discussed for this exchange. Tom Mesic Tom Untitled (Attractors Series), Voldemars Johansons (LV) Tom Mesic Tom Portrait on the Fly, Laurent Mignonneau & Christa Sommerer (AT), Galerie Charlot, Paris/Tel Aviv-Yafo Christopher Sonnleitner Christopher AROTIN & SERGHEI — contemporary art research & creation in cooperation with W&K — Wienerroither & Kohlbacher, Gallery Vienna

174 175 ERROR EVENTS, the Art of Imperfection CONCERTS & PERFORMANCES EVENTS, CONCERTS & PERFORMANCES

Ars Electronica Opening Ars Electronica Nightline

As every year, the Ars Electronica Opening will bring imperceptible to eyes and ears, are picked up by Once again the Ars Electronica Nightline will be show- compelling and thought-provoking acts to the stages electromagnetic transducer microphones and become casing contemporary electronic music by international of PostCity. The night begins with the contorting and the material of the work. and local performers. B.Visible, the maestro of broken undulating πTon installation by Cod.Act. Following Continuing the night are Chicks on Speed’s Alexandra beats and inventive samples accompanied by his live- this otherworldly experience is Italian artist Gabriele Murray-Leslie and Melissa E. Logan, live composing on band, kick off the evening. Following up is Catnapp Marangoni, who will send visitors on a journey to the self-made electroacoustic objects; a High Heeled Shoe (Monkeytown Records), singer/rapper and striking limits of perception with his project Silent, a collab- Guitar, self-contained amplified hats and Theremin performer from Berlin, who takes whatever she needs orative piece between a deaf performer and a vocal Tapestry culminating in an audiovisual performance from all genres of electronic as well as pop and rap soloist. art spectacle. Kutin/Kohlberger’s audiovisual inter- music, combining it into an energetic and eclectic live Chris Ziegler’s presentation, on the other hand, focuses play of the ancient, resonating sound of a prepared performance. Group A will be delivering a hard break on the limits of visual perception. Corpus sparks the hurdy-gurdy with sonified results of machine learning from pop-based structures, playing with noise, exper- visitor’s imagination with an abstraction of a moving algorithms of the 21st century will be the last perfor- imental electronics and voice, combining it all into one Catnapp, © Calcio body creating visual and sonic poetry. Interférences mance before Dino Spiluttini’s drones and ambient beautifully chaotic experience. by Alexis Langevin-Tétrault however relates to the soundscapes send the visitors off to another musical Iglooghost, the UK-based electronic producer and topic combining gestural interaction with an unique dimension. ­newest signee to Flying Lotus’ Brainfeeder label, device on the main stage. In the following performance The program will be rounded off by Welia who will play invites us to live it up on the dancefloor with hyper- Field of Martin Messier, residual electric signals, one of her fantastic DJ-sets in the courtyard. speed booms, fizzes, squeezes and stretches. Vision- ist continues on the main stage with detailed visceral soundscapes to encapsulate the experiential onslaught of an anxiety attack, accompanied by striking visuals by filmmaker Pedro Maia. Closing the mainstage will be Golin whose performances are full of improvisation, with a strong focus on the body and its movements, as well as an instant spontaneity that turns her shows into perpetually surprising cinematic experiences. Parallel to the main stage, a program of anarchic Igloohost, © Tim Twiss high-energy non-conformism confronts the visitors on the Salon Stage. The show opens with Linz-based accordion noise performer Stefan Mittlböck-Jung- wirth-Fohringer supported with visuals by Peter Field, Martin Messier Silent, Gabriele Marangoni Freudling. After this, the Viennese duo Dvrst plays a show reflecting on the unity between club culture and experimental arts. The tracks of the Polish-Austrian duo Mermaid & Seafruit inhale the deep, corporeal bass of Grime, the snottiness of Hip Hop, the frenzy of Hardstyle, the confrontational dynamics of Noise as well as the patient elegance of R’n’B and theatrical Spoken Word passages. Closing Friday night is the famous part-hu- Visionist, © Daniel Sannwald man part-meme, flute-dropping rule-breaker DJ Det- weiler. He will give people a reason to dance to the weirdest mix of musical genres well into the morning hours. For everybody who needs to step outside for a minute Interférences, © Trung Dung Nguyen Corpus and take a break, Linz’ all-time favourite Andaka plays in the courtyard in front of the Train Hall. 178 179 EVENTS, CONCERTS & PERFORMANCES / Opening

Alexandra Murray-Leslie (AU/ES), Melissa E. Logan (DE/US) Chicks on Speed Chicks on Speed began to make OBJECTINSTRUMENTS Chicks on Speed’s Alexandra Murray-Leslie & Melissa (self-made post-digital musical instruments) out of E. Logan perform OBJECTINSTRUMENTS in collaboration with technologist Dr. Sam Ferguson & costumes by Nina Kraine, necessity in 2003. The art group began with a minimal Julio Escudero, Department of Fashion&Technology, The stage set up and felt there was something missing University of the Art and Design Linz. The Chicks on Speed on the big stages. It all started with the OBJECT­ archive of OBJECTINSTRUMENTS commissioned by: ZKM Centre INSTRUMENTS when Alex and Melissa performed a for Art and Media, Karlsruhe, Artspace, Sydney, Craft Victoria Melbourne, NTU Centre for Contemporary Art Singapore, Dundee show with F.M. Einheit. Alex was impressed by Mufti’s Contemporary Arts, Institute of Modern Art Brisbane and Milani custom-made metal instruments and tools—it was Gallery Brisbane. Computer Enhanced Footwear prototypes 1 & 3 loud, messy and dusty. Backstage Alex asked Mufti by Alexandra Murray-Leslie made at Autodesk Pier 9 Technology which technical set-up he uses. After that, Melissa Centre, San Francisco and Creativity and Cognition Studios, The University of Technology Sydney. started experimenting with contact microphones and Tina Frank (AT), live video other materials. The experimentation of building and performing OBJECTINSTRUMENTS continued with iconic body-centric pieces like the High Heeled Shoe Guitar, E-Shoe and Theremin Tapestry. The group now possesses an ever-expanding OBJECTINSTRUMENTS archive of around 30 works. The risk-taking involved Chris Ziegler (DE) and the experimental nature of performing with self- made musical instruments has been an integral part of the artistic development of Chicks on Speed live CORPUS (2011/2017) performances. The group isn’t interested in perfection, Ovid’s “Pygmalion” redefined—a body in morpho- body shell, creating a sculpture in a semi-transparent repeatability or virtuosity, but in exposing experimen- genesis. A solo performance that uses digital, visual, cocoon . In “Dance” the body can be perceived both as a tal processes live on stage, sometimes at the risk of sensory and material interactions to create a body of subject and as an object of an artistic process. CORPUS jeopardising the perfect pop show. images and sounds. CORPUS articulates a process of explores the moving body and its frictions with a visual interaction between the artist and the artifact in a and acoustic “interaction body.” The disguised moving feedback loop. Where is the border of analog to digital, flesh in a digital costume gives the viewer room for where are the glitches in the conversion? Where “the imagination. apparatus” first needs the visible body in full flesh to generate images, CORPUS renders the perception of Direction: Chris Ziegler Dance: Unita Gaye Galiluyo an animated figurine first, before revealing the body. Music: Hugo Paquete CORPUS begins with an evolution of a single light Costumes: Ismenia Keck cell organism to a human figurine. Flesh fills another Software: Martin Bellardi, Nikolaus Völzow, Chris Ziegler Wolf-Dieter Grabner. © Chicks on Speed (Murray-Leslie & Logan 2018) Logan & (Murray-Leslie Speed on © Chicks Grabner. Wolf-Dieter Alexandra Murray-Leslie & Melissa Logan (Chicks on Speed)

180 181 EVENTS, CONCERTS & PERFORMANCES / Opening

Alexis Langevin-Tétrault (CA) Interférences (String Network) Interférences (String Network) is a 20-minute audio- Composer and musician from the post-rock, acous- visual performance that explores the possibilities matic and electronic scenes, Alexis Langevin-Tétrault of embodying an electroacoustic work in real time proposes a singular brutalist universe and infuses through gestural interaction with an unique device. On a dynamic of live music to a musical genre rarely stage, an audioreactive play of light unfolds gradually: incarnated by performance. Alexis Langevin-Tétrault builds a network of strings This project was made possible by the support of: Conseil des and captors with which he interacts to generate light- Arts et Lettres du Québec (CA), Château Éphémère - Fabrique ing and create a sound universe between industrial sonore et numérique (FR), Université de Montréal (CA), the noise, electronica and acousmatic music. Through the Social Sciences and Humanities Research Council of Canada (CA), Fonds de Recherche Science et Culture du Québec (CA), staging of corporality and the dialectical relationship Exhibitronic Festival (FR) and Centre national de création musi- between human and machine, Interférences (String cale Césaré (FR). Network) presents an allegory of the globalized and Concept, device manufacturing, programming audio and lights, composition and performance: Alexis Langevin-Tétrault interconnected modern world in which the individual Help with the design and manufacture of lights: Lucas Paris seeks to derive meaning from his experience and Advice on the artistic direction: Nicolas Bernier attempts to preserve his freedom of action. Advice on dramaturgy: Anne Thériault

Martin Messier (CA)

FIELD Rochon Marielsabelle With FIELD, Messier gives material form to this other- and movements and carry us, in a way. In this sense, wise inaudible, invisible flow. He becomes the operator the work and the artist arrive together at an exchange through whom the work is activated and brought into that determines the conditions of the visual and sound the real world. A veritable mimesis of electromagnetic elements of the performance: blinding lightning and current, the visual aspect can plunge the audience into electricity conduction. a hypnotic state: the omnipresent imperceptible power that surrounds us is stripped of its mystery here and Concept, audiovisual composition, programming and perfor- finally seems accessible to us. FIELD speaks to the mance: Martin Messier invisible forces around us: their ascendancy and their Interface: Thomas Payette Technical design: Thomas Payette, Maxime Bouchard, interdependence. Although they interact at an abso- Frédérique Folly lutely indiscernible level, they underlie our gestures Production: 14 lieux Trung Dung Nguyen Trung

182 183 EVENTS, CONCERTS & PERFORMANCES / Opening

Stefan Mittlböck-Jungwirth-Fohringer (AT)

Gabriele Marangoni (IT) Accordion Noise Performance The performance is based on the results of artistic collapse disorder” (CCD). Secondary to that, it is to be research and observations of honeybee colonies. In seen through the eye of transformation and decon- Silent 2017, due to the death of many bee colonies over the struction that is visible in the process to which the Secret Theater Ensemble and Tempo Reale work previous winter, the absence of the bee was the focus “supposedly” empty beehives are exposed through- together for a project where sound is conceived as a of the artist’s observations and documentation. The out the year. The performance is a noise performance vibration to be experienced. The study, conducted by one-man performance interprets the situations he per- that works through the interaction of a performer with the composer Gabriele Marangoni, is intended to be an ceived and experienced by means of an accordion and a the accordion, supported by electronic elements and avant-garde project that breaks down barriers between number of electronic aids. Among other things, it deals effects. It lasts about 30 minutes and is accompanied deaf and hearing people through an artistic product with ongoing transformation and primarily represents by projected visual elements. specifically built to be enjoyed by both groups. the progression from a living, animated colony through Silent is really a visionary journey to the limits of to an empty, found hive, its death caused by “colony Visuals: Peter Freudling (AT) perception, because the audience experiences the presence of a deaf performer and a vocal soloist who produce the sound together. The central idea is to have Marco Donnarumma (DE/IT), Margherita Pevere (DE) access to an extreme region of perception, in which the sound blends with vibration and gesture. This is Azathot rendered possible by technological and scenic devices allowing the performers to communicate with each from the 7 Configurations other and help the audience overcome the barrier of What does it mean to create a truly autonomous to access a new form of hybrid identity. They influence sound. With Silent Gabriele Marangoni experiments machine, independent from human control? And what each other creating a connection of bodies and psyche and investigates extreme electroacoustic regions. A happens when organs live outside of a body? Could able to redefine the concept of intimacy, as well as sound frequency structure below the hearing thresh- this help us understand that the power of the human how we imagine the body and its relationship with old has been designed within the work, which works body lies in its ability to be different and to take on new technologies. on the physical and cerebral perception of sound at unexpected forms and identities? Artistic direction, performance, staging: Marco Donnarumma, frequencies of 4 Hz where it is the body that perceives Violently entangled within the performance space are the sound, without the sense of hearing. Margherita Pevere three elements: an artificially intelligent prosthesis, Concept, music, programming, robotics, light: Marco Don- narumma A coproduction by SECRET THEATER ENSEMBLE, TEMPO out-of-body organic wombs and a human body. The Scientific partner: Neurorobotics Research Laboratory, Beuth REALE, FONDAZIONE I TEATRI, FESTIVAL APERTO REGGIO prosthesis uses artificial intelligence algorithms to Hochschule EMILIA. learn in real time how to move, exist and perform on Robotics visual design and costume: Ana Rajcevic In collaboration with: ENS, SGB-FSS Schweizerischer stage. The wombs live and pulsate through the activity Robotics 3D modelling and engineering: Christian Schmidts Gehorlosenbund. Additional programming: Alberto de Campo Supported by: UBS Cultural Fondation of microbial cultures. The sounds of the performer’s Light technology: Protopixel Concept and Composition: Gabriele Marangoni, body are re-synthesised and transformed into a power­ Commissioned by CTM Festival (DE). Supported by the Goethe Secret Theater Ensemble ful and visceral auditory experience. Institut’s International Coproduction Fund. Realized in the con- Conductor: Dario Garegnani The human, the non-human and the machine struggle text of the Graduiertenschule, Berlin University of the Arts. Male voice with extended techniques: David W. Benini Set design and vibrating systems: Micol Riva Producer: Giulia Soravia, Tempo Reale Live electronics: Damiano Meacci Alessandra Leone Alessandra Accordion Noise Performance Azathot

184 185 EVENTS, CONCERTS & PERFORMANCES / The Big Concert Night 2018

The Big Concert Night 2018 „The Berlioz Project“ In cooperation with the Bruckner Orchestra Linz and the Brucknerhaus For Markus Poschner it is the second time that ­projections will also play central roles in the produc- he, as chief conductor of the Bruckner Orchestra tion. Apparently the most impressive machine is the The Big Concert Night has become one of the festival’s final performances and are part of this year’s Featured Linz, switches the concert hall for the Gleishalle of huge Kuka KR 600 industrial robot with a weight of fixed points and absolute highlights. The spectacular Artist Program dedicated to Elisabeth Schimana and the POSTCITY — this extraordinary project is also approx. 2.5 tons and an extended height of 3.5 m, Gleishalle of POSTCITY with its powerful but still very her IMA (Institute of Media Archaeology). the opening evening of the international Bruckner which is set up in the middle of the orchestra. The harmonious acoustics has given the special encoun- Festival. Poschner has chosen the Symphonie fan- robot can be controlled directly by the music via its own ter between symphony orchestra and digital music in The Big Concert Night 2018 Lineup: tastique from Hector Berlioz for this “meeting of tra- program interface. It can also be synchronized with the recent years an additional and impressive uniqueness dition and modernity”. A work that is almost 200 years digital real-time visualizations on the three panorama that challenges us to create special productions. Josef Klammer (AT), Jaap Blonk (NL) old and thus connects a time in which the industrial projections distributed throughout the room. revolution had only just begun with toady’s epicen- Aesthetically, the most effective “machines” will be The evening begins with a premiere, a cooperation of Bruckner Orchestra Linz (AT) conducted by ter of the Digital Revolution. This link also provides Ursula Neugebauer’s motorized red dresses, whose Josef Klammer and Jaap Blonk, which, in tune with the Markus Poschner the narrative for the production: Evolution, the devel- movements can be controlled from the conductor’s festival theme, creates a juxtaposition and coexistence SILK Fluegge opment of form from a materia prima, from which desk. of real and synthetic voices. Afterwards The Berlioz Tour en l´air by Ursula Neugebauer our world emerges, where humans enter and begin to A threatening atmosphere will arise when a “band” of Project will be performed, the second major coopera- KUKA KR 600 Industrieroboter, KUKA GmbH develop tools and technologies to make our environ- five vibratory tampers play a match with the strong tion of Ars Electronica and Markus Poschner with the AS50e Akkustampfer, Wacker Neuson ment arable, but also put the ecosystems of our planet percussion group of the orchestra. Bruckner Orchestra Linz. Visuals: Cori Olan The third part will start with the Italian composer and ourselves in danger. Poschner already proved his great virtuosity in incor- and musician Gabriele Marangoni and his acoustically Gabriele Marangoni (IT) Poschner and the Ars Electronica team have also porating such elements into the performance without prepared accordion, after which “The Vibrationeers”, The Vibrationeers: Bernhard Breuer (AT), Didi Bruck- brought dancer and choreographer Silke Grabinger, damaging the music last year, with Bruckner’s 8th a band of five electrically driven and computer-con- mayr (AT), Chris BruckmayrKR (AT),600 Stefan R2830 Fuchs (AT), creative robotics expert Johannes Braumann and Symphony as the main act of the Big Concert Night. trolled vibratory tampers, will stir up the acoustics of AS50e Akkustampfer, Wacker Neuson artist Ursula Neugebauer — with her installation He is not interested in spectacular action, but in mak- the Gleishalle and its industrial interior. Electric Indigo (AT) Tour en l’air — on board. ing the mysticism of the music, the atmosphere, ritual Electric Indigo and Elisabeth Schimana will be the two Elisabeth Schimana (AT) In addition to the human protagonists — orchestra, and mystery outside the usual concert hall atmosphere conductor and dancers — machinesController and digital effectively palpable. The Big Concert Night was first launched in 2003 by Dennis Russell Davies, Gerfried Stocker, Wolfgang Winkler and Heribert Schröder Controller KR C4 as a cooperation project of Ars Electronica, Bruckner Orchestra Linz and Brucknerhaus Linz.

Teach pendant Jaap Blonk (NL), Josef Klammer (AT) Teach pendant KUKA smartPAD Communicating Monologues (being there is everything) Workspace graphic Take off and leave Alexa or Google Assistant alone punctuation marks. In this project, Blonk and Klammer­ in your Smart Home, so s/he/it is free to carry on blend congenial synthetic and human voices into a monologues and collect data. Deactivate your mobile concert evening for soloists and choirs full of onomato- toy—Siri or Bixby—and listen to the music of Blonk and poeia. Being there is what matters! Klammer and their communicating monologues. Both artists have been working for several years now with Jaap Blonk—voice, computer Josef Klammer—sythetic voices, e-percussion language and voice—Jaab Blonk with BLIPAX (Blonk’s Technical data IPA eXtended) and his algorithmic sound poems; Josef Klammer with Maximum reach 2826 mm text-to-speech software and the Rated payload 600 kg precise fallibility of these linguistic Rated supplementary load, rotating column / 0 kg / 0 kg / 50 kg prostheses. These men generate link arm / arm their music in both digital and ana- log fashion from the International Rated total load 650 kg Phonetic Alphabet, phonemes, Pose repeatability (ISO 9283) ± 0.08 mm words, sequences of letters and Number of axes 6 Jaap Blonk, © Etang Chen Josef Klammer, © Seppo Gründler KUKA, KR600 R2830, © KUKA Deutschland GmbH Mounting position Floor 186 Footprint 1050 mm x 1050 mm 187 Weight approx. 2650 kg

Axis data Motion range A1 ±185 ° A2 -130 ° / 20 ° A3 -100 ° / 144 ° A4 ±350 ° A5 ±120 ° A6 ±350 ° Speed with rated payload A1 80 °/s Mounting flange A2 75 °/s A3 70 °/s A4 70 °/s A5 70 °/s A6 110 °/s

Operating conditions Ambient temperature during 10 °C to 55 °C (283 K to 328 K) operation

Protection rating Protection rating (IEC 60529) IP65 Protection rating, in-line wrist (IEC 60529) IP65

Details provided about the properties and usability of the products are purely for information purposes and do not constitute a guarantee of these characteristics. The extent of goods delivered and services performed is determined by the subject matter of the specific contract. No liability accepted for errors or omissions. 0000-233-247 / V16.1 / 08.03.2018 / en KUKA Deutschland GmbH Zugspitzstrasse 140, 86165 Augsburg, Germany. Tel.: +49 821 797-4000, www.kuka-robotics.com EVENTS, CONCERTS & PERFORMANCES / The Big Concert Night 2018

Bruckner Orchestra Linz (AT) On Deviating and Setting Off on a New Course An error is a deviation from what we expect, this rhythmic and harmonic liberties, and with the help of a year’s festival theme asserts. Only by deviating can leitmotif present in every movement—an idée fixe, as it we switch to a new course. A total reset in musical were—Berlioz invents a program music whose imagina- terms was created by 27-year-old Hector Berlioz. He tiveness goes forth into (previously) unknown realms composed Symphonie fantastique and thereby put of expression. In the first movement, he composes on the market—or, rather, launched an epoch with—a drug-induced dreams; in the second movement, the musical work that deviated outrageously, made a festivities of a vivacious ball; in the third movement, a hurtling head-on impact, and was actually decades pastoral as an island of tranquility; in the fourth move- ahead of its time. Here, the unimaginable happens. ment, a macabre film scene; in the fifth movement, The modern artist openly portrays his private passion a hellish orgy with fearful screams, scornful laughter infernale, showcases his obsession (with Irish actress and scoffing godlessness. The explosive power of this Harriett Smithson) for all to see. An imaginary inner- fantastic symphony is eternal and always utterly the world theater that reveals—and segues into—a totally music of the time in which it is heard. different Romanticism that sings less of dreams than of Kafkaesque nightmares. Berlioz was far out on the Text: Norbert Trawöger In cooperation with Internationales Brucknerfest Linz 2018 leading edge of style, structure and orchestration, Hector Berlioz Épisode de la vie d’un artiste and anticipated tonal developments well into the Symphonie fantastique en cinq parties, op. 14 (1830) 20th century. With unusual instrumental colorations, Bruckner Orchestra Linz (AT) conducted by Markus Poschner (DE) Severin Koller Severin

Silke Grabinger (AT) SILK Fluegge SILK Fluegge is an artists’ collective doing contem- performance to accompany “Symphonie fantastique” porary urban dance and art. The collective’s artistic by Hector Berlioz. The dancers—costumed by Bianca activities include performances in theaters, interven- Fladerer—will perform a highly visual dance that tions in museums and public spaces, and mediating touches on robotics, digital technology, the body and audiences’ encounters with art and culture. The com- the organism, and seeks what is natural in the machine pany focuses on projects in the area of contemporary, and perfectionism in the human body. The question urban forms of dance and art, with particular emphasis that arises has to do with the quality of imperfection. on fostering young artists. At this year’s Big Concert Night, Silke Grabinger will be responsible for the dance performance. Artistic director: Silke Grabinger Performers: Silke Grabinger, Gergely Dudás, Elias Choi Buttinger Under her direction, SILK Fluegge featuring dancers Costumes: Bianca Fladerer Elias Choi Buttinger and Gergely Dudas will develop a Production manager: Sandra Krampelhuber Reinhard Winkler Reinhard

188 189 EVENTS, CONCERTS & PERFORMANCES / The Big Concert Night 2018

Ursula Neugebauer (DE) Gabriele Marangoni (IT) Tour en l’air RED NOISE prepared accordion solo Ursula Neugebauer puts physical energy on display itself. In many ways, this is reminiscent of von Kleist’s without introducing it as a body. She fixes this energy famous essay “On the Marionette Theater,” but in the RED NOISE is a continuous flow of sound, a sequence and this variation is not controllable, free, human. Red between materiality, mechanics and virtuality. She very last moment of unbridled mechanics, without the of breaths, air, acoustic vibrations and noise gener- noise is research, experimentation and improvisation, dispenses with real bodies and replaces them with objective of gracefulness, all references miss the mark. ated by the most contemporary of the acoustic instru- like life, like freedom. A variable, an error (in this case display-window busts to which long, very long ball In contrast, Neugebauer’s work, which is in effect a ments: the accordion. In Red noise the accordion is the preparation of the instrument) generates new gowns are attached. ballet without a ballerina, subsumes the ghostliness prepared, iron sheets are placed between the reeds opportunities for expression. Each personage is hooked up to an electrical motor of sheer drapery in terpsichorean, kinetic elegance. that rotates. At first, the fabric’s outer layer glides The acceleration of imaginary bodies, their outermost at a measured pace. Then the motor turns faster and freedom, was made possible by absence that catapults faster, and the fabric dances, springs, whirls, tosses up itself into a life of its own. Electric Indigo (AT) ornamental folds until it ecstatically hunts and harries Text: Manfred Schneckenburger 5 1 1 5 9 3 surround a/v live [excerpt] Electric Indigo presents the Austrian premiere of material from her recent album 5 1 1 5 9 3. Her perfor- mance is a quadrophonic journey into sonic particles and sparse, powerful rhythms. Icy beat-scapes from the fringes of club culture meet alien space ships, travelling with warp speed towards total immersion, supported by color fields and subtle video compression artefacts.

Music, images, spatialisation by Electric Indigo

Elisabeth Schimana (AT) Into the sun An imaginary acoustic view into the past

Since 1960, we’ve known that the sun is oscillating. Helioseismology is the study of oscillation waves through the sun; it allows astrophysicists to develop extremely detailed profiles of the interior conditions of the sun. The inspiration for the artistic work is the imagination that the sun is a huge resonating body for sound waves traveling to the interior of the sun and being reflected, as well as the awareness that we could look into the past by observing the processes on and in the sun—a paradox working with the medium sound, which can be experienced only in the present. Into the sun is a live electronic solo piece for a multi- channel system. Reinhard Mayr Reinhard VG Bildkunst

190 191 EVENTS, CONCERTS & PERFORMANCES / Piano Music meets Digital Images

Maki Namekawa (JP), Dennis Russell Davies (US), Cori Olan (AT), Andreas Bitesnich (AT) Piano Music meets Digital Images September 10, 2018, 7 PM, POSTCITY

“Piano Music Meets Digital Images” is the program- of Mishima’s life. It was scored for String Quartet Music Night as Chief Conductor of the Bruckner original works for piano four hands by Steve Reich matic title of the Monday evening concert by Maki and became the published work String Quartet No.3 Orchester Linz. In addition to his activities interna- (Piano Phase), Maurice Ravel (Ma Mére l’Oye), and Namekawa and Dennis Russell Davies that concludes Mishima. tionally as a celebrated and widely recorded conductor Philip Glass (Stokes). this year’s Ars Electronica Festival. The program The brilliant Mishima score basically lay in obscurity (Grammy and Echo Classical), Davies has performed Cori O’lan’s digital real-time visualizations of both of commences with a solo performance by Maki until last year when Maki Namekawa commissioned and recorded as pianist (his ECM recording of Keith these pieces came about through Ars Electronica’s Namekawa — the world premiere of the piano version the music director of the Philip Glass Ensemble, Jarrett’s Ritual, which Davies premiered, was recently cooperation with the Abu Dhabi Music Festival, where of Mishima by Philip Glass. Michael Riesman, to create a solo piano version of the re-released as both LP and CD). they premiered this past March. (https://cori-olan.art/ Mishima: A Life in Four Chapters from 1985, directed entire score. Therefore, this masterpiece will be heard Maki Namekawa and Dennis Russell Davies perform 2018/03/01/abu-dhabi-festival-2018/) by Paul Schrader, is perhaps one of Glass’s greatest for the first time in concert. successes in the medium of film. The film, which Namekawa’s account of these new arrangements puts documents Japanese author Yukio Mishima’s final day, her crystalline technique at the fore – which ended up presented a number of musical challenges for Glass to being a perfect analog for Glass’s music, the music’s work out. Now more than thirty years after its release, portrayal of the character of Mishima, and its first both the film and its music represent enduring work interpretation by a single Japanese musician. Listeners by Glass and Schrader. can hear the main issues of Mishima’s life — Beauty, Philip Glass came to composing music for film very Art, and Action — all converging in Namekawa’s per- late. Despite the high-water marks of later commer- formance. cial film successes like The Hours and Dracula, Glass’s Namekawa collaborates with the renowned Austrian early reputation as a composer for film was based on photographer and video artist Andreas H. Bitesnich art-house films like Godfrey Reggio’s Koyaanisqatsi who combines a subtle use of digitaly controlled light and documentaries such as Errol Morris’s The Thin projections with elements recalling aspects of tradi- Blue Line. tional Nō theatre, to illuminate and intensify Name- While later commercial films fit very much into the kawa’s dramatic encounter with the Mishima legend established order of creation, where the composer through the music of Philip Glass. comes in at the end of the process, these early films The second part of the evening is dedicated to visualized were produced differently with Glass often composing music for piano four hands. Namekawa is joined by the music before the images were filmed, or simply her husband and long-time piano-duo partner Den- writing music to the story. nis Russell Davies, who together with Ars ­Electronica A portion of Glass’s music portrays past episodes artistic director Gerfried Stocker initiated the Long

192 193 EVENTS, CONCERTS & PERFORMANCES / Piano Music meets Digital Images

avant-garde as well as in popular music. The visualiza- sion, and a ballet. Sleeping Beauty, Little Thumb, the Although very different in its graphical style, the piano Steve Reich, tions for Piano Phase have been specifically created for Empress of the Pagodas and Beauty and the Beast are visualization also follows the original idea of “Klang- Piano Phase the performance in Abu Dhabi and derive their motifs the fairy tale characters behind the individual parts of malerei” (painting with sound/music) which is a term for the visual interpretation directly from the music: Ma Mère l’ Oye concluded by a grand finale in the Garden often used to describe the very special character of Piano Phase was composed in 1967 for two pianos. It approach and distance, rhythm and flow, clarity and of the Fairies. Ravels music. All the frequencies and dynamics from is one of the early compositions by Steve Reich where ambiguity of the dancing and interweaving patterns. In 2016 Ars Electronica coproduced with Abu Dhabi the piano sound are literally converted by the com- he also uses his “phasing-technique” for instruments, Festival and LA-Phil a large scale visualization for the puter algorithms into “paint and brushes” directly a technique which he derived from early works with orchestra version of Ma Mère l’ Oye. The work pre- connected to the live music. Abstract forms appear, tape recorders and which would become a signature miered in February 2016 at the Walt Disney Music Hall sometimes reminiscent of calligraphy, landscapes, style for much of his music. Maurice Ravel, in Los Angeles, conducted by Esa Pekka Salonen, with mountains, ocean storms or rippling waves on a river, Both pianists play the same 12-note pattern but over the LA Philharmonic. Due to the very big sonic differ- moving and morphing into each other. time they vary in speed and dynamics so the result is Ma Mère l’Oye ences of the piano compared with the full orchestra a constantly floating and modulating combination of The original four-handed piano version was com- but also because of the differences in interpretation, a this pattern going in and out of phase. Steve Reich posed by Ravel between 1908 and 1910, telling stories completely new set of visualizations has been created described this as “music as a gradual process” and inspired by Charles Perrault’s fairy tale collection Tales The visualizations for Piano Phase and Ma Mère l’Oye are for the performance with Dennis Russell Davies & Maki such he pioneered ideas which became important top- of Mother Goose. Originally composed for the children commissioned by the Abu Dhabi Music Festival and co-produced Namekawa. with Ars Electronica Futurelab ics in the musical production of the digital age, both in of his friends, Ravel soon also made an orchestra ver- Julian Schmiederer Julian

Pianographique Abu Dhabi

194 195 EVENTS, CONCERTS & PERFORMANCES

Sparkasse OÖ Visualisierte Klangwolke 2018 Presented by Linz AG PAX tradition = revolution

“Navigare necesse est, vivere non est necesse.” Like the group itself, its performance is also charac- This year the Sparkasse OÖ Visualisierte Klangwolke terized by “eccentricity, innovation, rhythm, evolution 2018 sails along the banks of the Danube in the tra- and transgression”. The motto “Tradition = Revolution” dition of an old sailor’s saying: “It is important to go consciously plays with the apparent contradiction to sea, it is not important to live.” The Danube Park between preservation and renewal. and the river itself become the setting for a unique staging of human history, from the Big Bang to the From the Danube to new shores present. Planets and objects float in a dreamlike scen- For La Fura dels Baus, the solution of the problems of ery, people and animals move around and through the past and present generations is reflected in PAX. PAX audience, creating a fantastic panorama of human stands for the constant search for something new, ­tradition, at the end of which stands the departure for technical development and human civilization, in to new worlds. opposition to stagnation and regression. PAX means understanding the history of humanity as the history Tradition = Revolution of progress in which the revolution has a tradition. With PAX, the legendary, internationally acclaimed “It’s important to go to sea.” Set off with Sparkasse Catalan theatre collective La Fura dels Baus has cre- OÖ Visualisierte Klangwolke 2018 to new shores and ated a fascinating show between installation and embark on an exciting journey through the past, interactive performance, in which the audience is sur- present and future! rounded by large-scale productions and projections that move on water, on land and in the air. A carrier After-party with Leyya pigeon made of 12-metre-long fluorescent tubes proj- LINZ AG invites all visitors to continue celebrating late ects the news of the public into the sky above Linz, into the night in the Donaupark in order to echo the thus heralding the tradition of communication, while manifold impressions of the Sparkasse OÖ Visualis- gigantic buildings, a giant horse model or a 14-metre- ierte Klangwolke 2018. The Austrian electropop duo high robot doll symbolize nature and progress. Leyya will provide the sound. La Fura dels Baus dels Fura La

196 197 EVENTS, CONCERTS & PERFORMANCES

Mihaela Kavdanska & Dilmana Yordanova (RO/ BG/ AT), Maria Mora (RO), Mariana Gavriciuc (RO), Mirian Kolev (BG), Diana Dulgheru (RO), Stefana Fratila (RO/ CAN) 0FF8N0FF: Spaces Alive #abstract | 50HZ & Stefana Fratila Live

Spaces Alive #abstract is a site-specific performative intervention presented within the frame of 0FFXN0FF, a collaborative exhibition and concert series by Memphis Art Space and Tresor Linz. The project is part of the series “Spaces Alive. Bucharest Surreal”, produced by AVmotional Platform, conceived and presented in 2017 at different locations in the city of Bucharest. The performance is based on the interaction between media artists, dancers, sound and the gallery space. It problematizes the presupposed neutrality of the “white cube”, while critically commenting on both the modernist myth of abstraction and the “perfection” of a perpetually optimized technology. The idea of error is translated in the subjectivization of technology through the moving bodies augmented with webcams, now turned effectively into interfaces. A video layer, processed in real-time is integrated into an iconic painterly abstraction, covering the space of the gallery. As part of 0FF8N0FF a concert evening will take place at Tresor Linz. Amanda Augustin (AT) & Lorena Höllrigl (AT)

0FF8N0FF, producers & locations: Memphis (AT) & Tresor (AT) Co-producer: AVmotional Platform (RO, AT) Holy Hydra Spaces Alive #abstract: UsureluAlina intergalactic symposium | music | performance Creative direction & visuals: Mihaela Kavdanska & Dilmana Yordanova (RO, BG, AT) Holy Hydra is a two-day event involving contemporary the use of architecturally and historically valuable Performers:Maria Mora (RO), Mariana Gavriciuc (RO) Sound artist: Mirian Kolev (BG) performances, electronic sound art, interactive light structures. Churches fulfill those attributes perfectly Computer programmer: Cristian Iordache (RO) installations and a symposium about “Sacral Space and are exemplary for an alternative usage. Choreographer: Simona Deaconescu (RO) vs. Urban space” in the parish church of Urfahr, next Curator: Horea Avram (RO) to the “Ars-Electronica-Maindeck.” Idea & Production: Amanda Augustin (AT) & Lorena Höllrigl (AT) Production Team: Raumteiler Linz (AT) Sound artists, Tresor Concert Night: The major concern is to present different artistic dis- Music curated by: Tanja Fuchs (DE/AT) and Thomas Auer (AT) // Minim | Diana Dulgheru (RO) & Stefana Fratila (RO, CAN) ciplines and approach interested groups in its unique Klangfestival Romanian Cultural Institute Vienna spiritual atmosphere - a sacred space. To offer an Visual Concept: 4youreye - ProjectionArt (AT) & AV-Lightstorm (AT) The project is supported by Grüner Anker - Jugendkirche der Bundeskanzleramt Österreich experience at this special place for everyone regardless Kulturabteilung Land Oberösterreich Diözese Linz, Kunstreferat - Diözese Linz, afo - architekturforum of their religious conviction or their beliefs. Linz Kultur Förderungen oberösterreich, Posthof Linz, Katholische Privatuniversität Linz, KOTKI visuals The project is intended as an idea for how to extend Raum & Design Strategien - Kunstuniversität Linz

198 199 FOCUS DIGITAL MUSICS & SOUND ART EVENTS, CONCERTS & PERFORMANCES / Focus Digital Musics & Sound Art

Volkmar Klien (AT) composing (in) digital worlds The Digital Music Focus 2018 at Anton Bruckner University

Sonic Saturday, part of the digital music focus at Anton (and to be heard there). The gramophone and radio Bruckner University, presents a symposium, a guided allowed sound to travel long distance and in time, tour through the university’s computer music studio, transforming music from something rather ephem- a multichannel listening room featuring compositions eral and tied to a specific place (earshot) and time (the reflecting the most recent trends in computer music, moment) into something to be consumed (and not just and the concert “Medium Sonorum” in the university’s to be made) where- and whenever. 20.4 channel concert hall, the CMS Sonic Lab. In the dawning digital society with its algorithmically The symposium—entitled .. under control of Music | curated sound-worlds and the possibilities and eco- music under control of ..; composing (in) digital nomic realities of big data, the environment in which worlds—brings together artists, thinkers and research- musical practice evolves is undergoing drastic change. ers from different fields to shine a light on the mani- Algorithmic music production is in the process of mov- fold challenges for the sonic artist composing (in) the ing from academic computer music studios to giant digital worlds today. corporations’ service departments, aiming at har- Music has always been a way to represent, influence vesting musical practice (reception and production) and control the social settings and situations it evolves for new ways of influencing and controlling human—i.e. in. During the last century, composers and sound art- customer—behavior. ists of the self-proclaimed avant-garde focused on this The symposium .. under control of Music | Music aspect as well as on how music was embedded in the under control of ..; composing (in) digital worlds economic and political complexities of the emerging poses questions regarding these new forms of music entertainment and media industries. Artists decided making. What potential is there for control, abuse, for not simply to produce products for art markets, but artistic creation, subversion and altogether new forms aimed at a fundamental critique of their tools and of musical practice? media in situ. The symposium’s participants are: Thor Magnusson With the advent of new tools for the production (IS/UK), Alexandra Murray-Leslie (AU), Thomas Grill and dissemination of sound throughout the last (AT), Wayne Siegel (DK/US), Sam Ferguson (AU) and two centuries, the strategies of artists working with Enrique Tomás (ES) these tools in sound transformed, too. The micro- Bauer © Simon Linz, University, Bruckner Anton phone changed the arena for singers; the electric guitar enabled the instrument to take center stage Text: Volkmar Klien

202 203 EVENTS, CONCERTS & PERFORMANCES / Focus Digital Musics & Sound Art

Werner Jauk (AT) What is music to... The Evolutionary Transgression of the use of Error in Post-Digital Culture, Nature as a Paradigm of Cultural Evolution

“Error” is regarded as a modern cultural construct. post-digital culture: The integration of the body in a Having emerged with the original storage medium communicating, bearing the “gesture of the hanging Deviations from theory-based behavior and thinking world of feasibility after the exceedance of mechanis- of notation as a prescription for the reproduction of tongue” (MARCUS 1992, 19). about behavior are considered errors, statistically not tic thinking through the dynamization and codificia- sound structures via the composition of codes for What stimulatively excites the homeostatic regula- as behavior determined by the hypothesis derived from tion of the environment (JAUK 2003, 2009). sounds, in modern times music serves as a construct tion of “new” orders beyond a harmony of high culture a theory but as behavior occurring at random. In interaction with surroundings changed through the of “related thinking” (RIEMANN 1914/15), the com- that violates physicality is symbolically considered an What culminates in research paradigms is fundamen- process of mediatization of the body’s interaction with position of codes for sounds according to relation- error. Pop music, as simultaneously a little mediatized, tally the general way of modern thinking and living, the environment, instead of the synthesizing attitude ships. These stem from the nature of sound, which, directly physical following the expressive behavior and at the same time the method of producing waste— of the visual construction of time and space through in the “harmonic” understanding of Central European caused by excitation, and at the same time a highly culture is regarded as a purposeful (linear) progressive the (moving) body, there is now the suitable form of thinking follows the principle of a geometric relation- mediatized technical amplification of this physical development where the goal is the mastery of nature. interaction: the analysis of events around the (still) ship, the physically appreciated relationship of scale. quality, plays with the error of modern high culture. So, in this development, implicitly natural occurrences body according to their significance — i.e. the excit- Transferred to algorithmic codes it was formalized What was evaluated as a counter-attack by semiolog- that are transferred to social and aesthetic produc- atory value of the environment — for the body. in a duodecimal system, which allows most integer ical guerrilla methods, an expropriation and the draw- tion as feasibility are in “error.” Just as in the quest This auditory logic is doing justice to the all-at-on- ratios - what was done to good´s creation was done to ing into “punk” of structurally deeply anchored signs of for innovation, feasibility was the reason for doing it, ceness (McLUHAN 1995) of “electronic space,” today music too describing the “harmonices mundi”. Nature high culture, can be experienced as pre-symbolic com- today caution is the watchword of futurology—so (also) net-space. Its excitation-based regulation exceeds was elevated to a legitimating cultural law, and rightly munication, as a form of communication deeply rooted avoiding error as cultural waste. rationality, especially since it is conceivable as a “ratio- so. Only integer ratios for fundamental frequencies in phylogenetic sonic performative expression. Pop Against the method of producing waste, against nalization” of physical “knowledge.” The term “error” determine the order of the sounds to one another: the music or, better, pop-music-making is the instrumen- modern logic, the classical avant-gardes worked in an is not adequate for a principle of homeostasis based integer ratios of the sound elements define harmonic talized/mediatized sound-gesture and its emotional anaesthetic sense, in the sense of extending the field on dynamic adaptation. sounds; integer ratios between the fundamental fre- contagion as a rebellious “error” stimulant for cul- of perception (WELSCH 1993, 79ff). Alternatives will While the arts shape the culture of those revolutionary quencies define the harmonic order of sounds in rela- tural adaptation. Sound-dominated pop culture as a grow out of this, cultural remixes even if the thinking policies for the struggle of the means of production, tion to one another. Rooted in the nature of sounds, a counterposition and later alternative to the physically is intrinsic to the economic system—remixes are sold it is increasingly the economy that is seeking to lead cultural order is postulated here. hostile order of linear theory-led feasibility of nature as “new” with increasing rapidity. So begins a new the accelerating competition for consumers, and to The fact that this selection presumes a cultural imper- and society can be seen as cultural constructs within multiplying, parallel, plural value, ultimately also plu- seduce the pluralistic individual in his or her emotional ative is seldom made explicit — however: other natural the culture-shaping rational thinking, as phenomena ral errors and plural waste. mood, away from culture-defining attitudes, in his or processes are (d)evaluated and considered uncultured, of the recognition of the ostensible natural order as Welsch already interprets the classical avant-garde her “self”-formation. cautiously defined as “contrary,” as dissonant/unhar- an artificial cultural principle that initially combats as the avant-garde of postmodernism, which grew In a music-dominated, experience-based society char- monious, in general and in particular contrasting high this error anti-aesthetically by counterposition, later from Modernism; Jean Dubuffet’s demand for a shift acterized by the hedonic pattern of self-optimization culture with folkish and popular music as “barbaric,” anaesthetically nullifying it by expanding the forms away from the primacy of reason and logic (DUBUF- (SCHULZE 2000), borrowings from nature’s self-orga- “uncultivated;” it is also considered “noise” by these of experience. FET 1973, 68) is provided as an example of “the birth nizing processes are culturally accepted: the homeo- cultures and, deconstructively, as the error of harmonic life. According to this modern understanding, the boundary of postmodern philosophy from the spirit of modern static regulation of life, which does not exclude stimuli If in the early 20th century it was the immediate of thought is set on progress as the rational structur- art” (WELSCH 1993, 79ff). Breaking away from logo- from the environment but uses them as a regulative experience of noisy sounds of “foreign” cultures, ing of the new. The avant-gardes of the early 20th centrism, leaving monosemy for polysemy (ibid. 82) stimulant of (mutual) adaptation, enters into the but above all the urban sound of machines defining century seek to overcome this in the arts of trans- and living plurality (ibid. 92), is associated with this. offerings of mass media neoliberal culture as mood human culture and the feasibility of artificial orders gressing formal composition, composition as a work Generally speaking, for Welsch the limitations of the management. opposed those of nature, even in the innovative six- — thereby generalizing the musical work as a compo- modern view are given by the prevalence of seeing. The Fundamentally, exploratory behavior knows no “error” ties, although “committed” to (social) feasibility, it sition of codes for sounds as iconic images as well as auditory logic (JAUK 2001), the patterns of thinking but only variability leading to adaptive processes of was rough recordings of “black” singers, overdriven their symbolic use. from the experience of auditively controlled body-en- the dynamic shaping of physical life, of aesthetic and distorted guitar sound that were judged by Following Futurism as a manifesto that glorified the vironment interaction (GIBSON 1982) places an alter- (BERLYNE 1971) as well as social life — is its transfor- some as the expressive quality of unculturedness, new, the search for something new takes place through native form of directing perception, one suited to the mation through power a culture of error, the disruption as “subcultures,” yet ultimately when viewed overcoming rationality, as its negation in Dadaism, as altered environmental conditions, especially in the of the dynamic self-regulation of life? by others were seen as directly and stimulatively its elimination/circumvention through the shaping

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of the para-logic of the dream and pharmaceutically as an error of pop culture in allusion to high culture while deconstructivist methods focus on error in materiality, which is usually not recognized as an error induced forms of thought in Surrealism, later the work-music-sound, which, however, plays less the order to obtain knowledge about the excluding agent when digital arts of the immaterial common digit, free psychedelic arts, and finally in the abstraction of the structure through sounds than “hot” modulating the from what is excluded, error becomes information in from any experience of the material world (LYOTARD narration of content to form and the temporal order in sound itself. general. 1985), are still designing in a materialistic way. Now abstract film, through the inter/medial transposition This is a paradigm of electronic dance music: the for- Apart from statistical conceptions, error acquires the question arises, is this transgression possible as of musical thinking to shaping beyond sound. mation of sound according to expressive qualities as methodological interest not in the elimination of long as people derive their systems of thought from The negation of musical thinking as referencing and hedonic performativity that naturally produces sound subjectivity, but in its respect for it (JAUK 2017). Psy- the embodiments of a material body? therein algorithmic thinking initially led to design by that directly stimulates movement. This arousal chology certainly considers creativity to be divergent Gibson’s definition of the intentionality of body-envi- chance — now “for the first time” not understood as controlled bodily modulation sounds of any origins thinking, which, however, must be transformed into ronment-interaction here also provides a transgression error, but in Darwin’s sense as variability that leads through the sound-gesture, which controls excitation, congruent thought if new knowledge is to be derived whose non-observance has produced a fatal cultural to redesign as adaptation. This new understanding will determine the future of music as it were in “back from it. Applied in science, publicly proclaimed in the error in the form of rational idealism. Intentionality of error is used in the technoid arts in particular as to the roots” (JAUK 2015), the emergence of music arts, anaesthetic, consciousness-expanding action is means that all interaction is intentionally regulated formal temporal arts beyond the logic of causality and from expressive sound or the instrumentalization of regarded as an uncontrolled devotion to “error.” Trial by the “affordance” of environmental stimuli: through its generalization in narration in the abstract design expressive behavior. Functionally, this technologically and error are methods of finding something new, the the tension, the tension value of the environment for of dynamic arts. intensified form of emotional expression serves as experiment is removed from its strict control. The the body and its resulting behavior — this leads to In addition to inter/medial transposition, music, social communication — becoming “communis”. interpretation of the ego’s experiences is freed from its a mutual adaptation for purposes of the respective especially in the algorithmic understanding, will also Political stimulus can also be found for the individ- subjectivity as error (JAUK 2017). Especially the Ameri- human survival in adapted form with a view to the use the other aspect of chance as induced error, the ual movement in micro-politics; it already starts in a can avant-gardes of minimalism, following pragmatist creation of new environments through this adaptation. exceedance of calculability, overstraining through political counter-position: “From now on, what was thinking, with their own limited tradition, will anaes- Drawing on the social sphere, the net-art of the 1990s over-determination, through the processes of pro- once just considered obsolete now has only one place: thetically seek the new in trial and error (SCHAEFER defined design as a mutually adaptive process, as col- cessing algorithmic design in the “glitch” as a means the dustbin of history!” (MARCUS 1996, 14 mentioning 1987) as well as in expanded consciousness. lective and collectivizing design (KERCKHOVE 1995). of construction (CASCONE 2000, JAUK 2010). Cascone Leo Trotzki). Pop culture will also turn its opposition Popular technoid and media arts will, however, also This definition can already be found in the group psy- then called the music of overcoming determinable into an alternative: the remix of instruments and tech- address the waste of material design as it were in a chology of the 1950s (BALES 1950), which saw informal orders post-digital. Popular music will have used the nologies from the “rubbish dump of culture,” a remix deconstructivist way to focus on what is excluded, to design as a mutual adaptation of the (social) person artefacts of initially limited technical possibilities of mostly high-culture emancipation techniques into work from the dustbin of culture. First as a count- and their (social) environment. according to musical design beyond the rules of sound a new amateurism leads to cultural developments er-position, then as hacking from “within,” ultimately Mechanistic thinking is exceeded in intentionally design through the regularity of the operating sys- beside continuing dynamics. valued as a use, the use of existing technologies, espe- hedonic social design regulation; as if by arousal, tem of the information processing machine and made In its technological intensification of physical emo- cially because of their availability outside the operat- homeostatic regulation as an optimization becomes music of “clicks, cuts and bursts” as a music of error. tional interaction, popular music uses such technol- ing instructions, is at the same time simply used in the survival principle of man and culture — in this the Pop music as music of the remix from the “dustbin ogies for collective and collectivizing emotional com- a “new amateurism” without the concept of “error” modern concept of “error” is exceeded. of history”, filled with increasingly short-lived sound/ munication; it will be precisely the media arts that — the input of rhythmic patterns, free of music-theory Here the idea of feasibility and the social feasibility technology. Apart from cultural referencing, “used” cultivate these forms of design from the use of instru- thinking, into cheap drum machines and their hedonic of the sixties generalized from it presents itself as postmodern technoid music “used” samples, and ments and media from the exponentially expanding modulation in tempo leads to rhythmic movements a modern extension, the determination of “better finally cheap technologies like the Roland TB-303 and waste heap, and provide postmodern thinking with an from ambient to jungle formed from arousal to move- knowledge” for many. At the same time, doubts arise the Roland TR-606. Here discarded material is used as alternative to progressive thinking; in an independent ment, which are finally conceptualized as individual as to whether feasibility is not cultural error resulting the material of sound production. Its internal organi- attitude they will seek to undermine and disempower political movements within the concept of microp- from the ideological verdict of doing what is feasible. zational logic in music-making does not just take place modern technological optimization as instruments olitics. This model of communication causes the model of as a conscious disregard for its internal regularity1, as of capitalist power, as means of production and their The use is to be seen as an exceedance of error related information transmission, i.e. materiality, to shake error, but as ignorance of this thought construct in the owners not in a semiological guerrilla struggle of sym- to cultural knowledge. Algorithmic and material-ori- — as a design factor in music, the design according to amateurish use of hedonism with available technology. bolic negotiation, but in an actionist guerrilla struggle. ented arts, even the digital arts, reduce the trans- “tension –solution” has already contributed to refer- This is not dissimilar to the electro-acoustic processes The sixties, the last eruption of modernity and anti­ gression through error to an understanding within ential thinking in the past. Social relations are based of guitar-dominated music, which have led to grunge cipation of the “turning point,” rely on the one hand materiality, within natural knowledge of the body, on excitatory relationships; communication does not and distorted sound through inappropriate use, the on calculable feasibility, and on the other hand they the experience of the interaction of the body with the mean mutual “understanding,” but becoming “commu- overloading of amplifiers — a performative hedonic reflect on the transgression of rationality. Big-data environment as material realities — embodiments of nis” (JAUK 1999). play stimulatively derived from the expressive ges- studies make it possible to extract multidimensional this lead (metaphorically) to cognitions (LAKOFF 2003) Here again, the “only” collective form of music design ture (JAUK 2007) which on the other hand has led to clustering from different points of view. Thus error that lead to mechanistic concepts of culture. Their comes into play. Adorno already described polyph- virtuoso sustain-rich playing, sometimes understood (in content) is qualified as the production of observation; application and their exceedance remain within the ony as “the objectivation of us,” the formalization of

1 As it was done by the American avant-garde (minimal- as well as noise-art) using the method of “trial & error” overcoming rational structuring just by “doing” and deciding the “right” outcome by its hedonic value.

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interacting voices that structure music. If this social dominance of seeing, this takes place with the trans- self-regulating system. What futurologists have pre- structure is made by a composer, the objectivation is gression of the mechanistic through dynamization and dicted, Bataille and Foucault grasped intuitively, and Jauk W. (2011): ‘Kunst, Kreativität, Pop-Kultur: Provokation des Chaos — Chaos als Provokation’, In: Chaos, U. Bechmann/Chr. an ideological factor, for it remains a prescription of coding of the environment. The adaptive design of it encouraged them to experience that development as Friedl (ed.) Graz, 203-224 the behavior of many from the idea of the one, even if dynamic virtuality escapes the dominance of a culture transgression is a non-affirmative affirmation. the one also legitimizes its composition in the nature of seeing. With this turn, the modern construct of error If post-digital culture is the overcoming of the modern Jauk, W. (2015): ‘Back to the roots! Hedonisch bewegte körperliche Gestaltung des “künstlichen” Klanges. Interfaces of harmonizing — this is the power play! in analysing interaction disappears, and with it so do construct of “error,” the contemplation of the natural — Wahrnehmung, Ausdruck und deren Instrumentarisierung/ What role does the error play in this? As in self-reg- bodies and environment mutually adaptively changing life and survival design of the body and environment Mediatisierung im musikalischen Kommunikationsprozess’, ulating nature and in the evolution of humans, social to any stimuli. through an arousal-based interaction of the hedonic in: A. Bense et al. (eds.), Musik im Spektrum technologischer processes (initially) regulate themselves — too little Although apparently being moving images, their body with the virtual environment, then the world of Entwicklungen und Neuer Medien. epOs : Osnabrück, 277-302 and too much arousal in social situations leads to design and reception are “organized” according to error has made itself superfluous as a modern con- Jauk, W. (2014): ‘Intuitive gestural interfaces/adaptive environ- behavior that brings the level of arousal to a (subjec- the logic of hearing, according to sonic performativity cept, evolution has adapted the form of interaction ments and mobile devices/apps: Playing music and the musical tively) survivable level — in a certain way “error” here — a hedonic experience of movement after analysis from the deliberately rational decision of seeing to work as a role model for personalized gestural interaction in social environments’, in: ICMWT International conference on is not error, but: it is the regulating force. of its excitation, after the motion of a mechanically the analytical experience of hearing, and thus turned Mobile & Wireless Technology Congress-Book, Beijing, 280-284 Music is considered to be the formalization of the motionless body. An evolutionary “remix” of percep- a natural into the cultural form of post-digital life, hearing of sound. Through its mediatization, coding tion, the anaesthetic turn to the phylogenetically older the body with immateriality — it would be a relapse Jauk W. (2017): ‘Der Körper ist die Grenze: das lch in Wissen- schaft und Kunst. Aspekte einer anderen Empirie’, in: D. Ingrisch and thus its storage and designability, its dynamic form of interaction of hearing as a suitable form of to see this as a possible “error.” This transgression as et al (eds.) Bielefeld, 81-98 and, for people, its transient form, it has often expe- interaction of the hedonic body with dynamized vir- a “non-affirmative affirmation” is to be lived with all rienced a cultivated reception, namely the aesthetics tualities — a cultural adaptation of the body through openness in social and political coexistence. Kerckhove, D. de (1995): ‘Kunst im World Wide Web’, in: Prix Ars Electronica 95, Linz of harmony. This is designed as a way of thinking, from cultural instrumentation/mediatization of the body the independence of the existence of the medium of and a resulting new environment that makes the body References Leopoldseder, Chr. Schöpf (eds.), Linz, 37–49 Baudrillard, J. (1981): Simulacres et simulation, Paris. sound; avant-gardes use deviation from it, the error as superfluous — does not overcome the mechanical body Lakoff, G. & Johnson, M. (2003): Metaphors We Live By, London an overcoming of this restriction — generally the result as an error, but rather “expands” its forms of inter- Bales, R. F. (1950): Interaction Process Analysis. A Model for the was negation (whatever it was brought about by). action in the re-mix as a cultural form of respecting Study of Small Groups, Cambridge Lyotard, J-Fr. (1985): Immaterialität und Postmoderne, Berlin In music, digital culture finds a paradigm of those new phylogenetically older forms of life. Berlyne D. E., (1971): Aesthetics and Psychobiology, New York Marcus, G. (1996): Der Mülleimer der Geschichte, Hamburg and media arts that have constitutively transferred Pop culture, as body culture, pop music as the lit- Cascone, K. (2000): ‘The Aesthetics of Failure: “Post-Digital” Marcus, G. (1992): Lipstick Traces: Von Dada bis Punk — kulturelle the dynamics and coding from music to their sensory tle-mediatised form of direct physical expression that Tendencies in Contemporary Computer Music’. Computer Music Avantgarden und ihre Wege aus dem 20. Jahrhundert, Hamburg perception. is at the same time a highly mediatized technologically Journal, Vol. 24, No. 4, 12-18 As cybernetic arts (initially and dominant), digital intensified form of expression (JAUK 2009), is under- McLuhan, M., Powers, B. R. (1995): The global village: der Weg Gibson, J. J. (1982): Wahrnehmung und Umwelt. Munich der Mediengesellschaft ins 21. Jahrhundert, Paderborn arts have oriented themselves towards the arithme- stood as an essential factor of an experience culture tic design of geometric embodiments of modernist (SCHULZE 2000), a neoliberal economic culture that is Jauk, W. (2000), ‘The Auditory Logic: An Alternative to the Pfaller, R. (2011): Wofür es sich zu leben lohnt. Elemente materi- music and related thinking. In itself contradictory, this determined by image as experience and thus purchase “Sight of Things”’, in: H. Nowotny et al. (eds.), Jahrbuch des alistischer Philosophie, Frankfurt am Main Collegium Helveticum, Zurich, 321–338 digital culture has oriented itself on the materiality value. Even the self-optimisation of hedonism through Riemann, H. (1914/15): ‘Ideen zu einer “Lehre von den Tonvor- of thought. rationally based techniques is no longer regarded here Jauk, W. (2003): ‘The Transgression of the Mechanistic Paradigm stellungen”’, in: Jahrbuch der Musikbibliothek Peters 21/22, 1–26 This digital composition can be regarded as an error as an “error” of a hedonic culture — the development — Music and the New Arts’, in: Dialogue and Universalism 8–9, 179–186 Schaefer, J. (1987): New Sounds: A Listener’s Guide to New in the dominance of visual thinking, in construction of hedonism becomes an increased hedonic value Music, New York as well as in its suitable reception of codes for sounds (PFALLER 2011) — besides its function of the self- Jauk W. (1999): ‘Gestaltung durch kommunizierendes Verhalten: Schulze, G. (2000): Die Erlebnisgesellschaft. Kultursoziologie der according to related thinking. Work-music follows the regulation of life — a “new error”? Musik und Net-Art’, in: Forschungsbericht Klang-Forschung 98. Symposium zur elektronischen Musik, J. Stelkens, Hans G. Gegenwart, Frankfurt am Main logic of seeing, ultimately reading comprehension, Post-digital culture is no longer oriented towards Tillmann (eds.), Munich, 163-173 whereas music-making is a sonically performative exceeding the mechanical body, which has become Welsch, W. (1992): ‘The Birth of Postmodern Philosophy from the Spirit of Modern Art’, in: History of European Ideas, 14-3, communicative event that does not formalise and “superfluous” through digital extension, but, neces- Jauk W. (2007): ‘Der Sound des hedonisch-performativen Körpers und das Spiel der Elektrogitarre’, in: Jazzresearch, vol. 379–98 culturally transform the natural sound production sarily, as an evolutionary form of survival towards the 39, F. Krieger & B. Hoffmann (eds.), Graz, 273-289 through movement from excitement. In this, espe- hedonic body, towards self-regulating design through Welsch, W. (1993): Aesthetisches Denken, Stuttgart Jauk, W. (2009): pop / musik + medien / kunst. Der musika- cially in the “utilisation” of the sound gesture as an arousal-determined interaction — does this culture and Welsch, W. (1996): Grenzgänge der Ästhetik, Stuttgart lisierte Alltag der digital culture. Osnabrücker Beiträge zur imagination of movement as well as an expression of its forms still know “error”? systematischen Musikwissenschaft. Vol. 15, B. Enders (ed.), its meaning for the body (JAUK 2014), sonic performa- Finally: in the actions of nature, in the negotiation of epOs, Osnabrück tivity is also the paradigm of the hedonic as emotional culture, error is not considered a disturbance variable Jauk W.(2010): ‘trash musics: in-dust/e-grains/dig-glitches. Die interaction with virtualities (JAUK 2009). but a design variable — there is only one unconstruc- andere Mediamorphose aus dem Spiel mit der Durchlässigkeit Demanded by Dubuffet as an overcoming of the tive error, that of the postulate as an intervention in a des “Mülleimers der Geschichte”’, in: Abfallmoderne, Vienna, 2010

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Werner Jauk (AT) environments configure themselves in association A physical space becomes a social space through the with human beings. emotional interactions of human beings, human bod- This is, on a large scale, the sociological approach of ies, in it. It is stimulation that determines interper- Power is the only error... interactionism and the architecture of the Chicago sonal interaction. Sound-gesture as imagination of Collective/ collectivizing music-making as a paradigm of the hedonic self-­ School; on a small scale, this is the essence of group the movement around the body and as expression of organization of the dynamic adaptation of spaces as communal living spaces dynamics: Interaction as reciprocal formation of arous- the meaning (of the arousal level) of this movement al-balanced living spaces. In the 1990s, in what was for the body is, therefore, the paradigm of emotional tantamount to a reinvention, this was applied to Net interfaces facilitating adaptation (according to hedonic Error is a construct of Modernism; conceived as a “gouvernementalite”; it powerfully constructs culture. Art as a collective and collectivizing interaction as human as measure) of physical and social spaces as deviation from a theory-driven prognosis of an event, The concept of the evolution of plural, parallel, nat- design. What has been added in the last few decades cultural spaces—of real, virtual and converged realities. from the next step in the linear progress of culture ural life is increasingly applied to cultural develop- is the acceptance of physical interaction as stimulative These motility-induced movements, (gestural) bodily .... Progress-avant-gardes of the early 20th century ments. Explorative behavior determines not only gen- interaction, immediate physical deeds, and not the behavior, facial expressions, and sound production will attempted, by shutting down rational idealist think- eral survival but also what culture brings forth and, exclusive assumption of symbolic interaction in terms be reflected in the arousal level of the space, as move- ing, to radically break through the boundary between ultimately, aesthetic behavior. Needless to say, this of signs, by means of symbolic negotiation—where ment that ultimately “causes” sound, is sound. The sense and non-sense; a deconstructivist attitude does not preclude power-driven influences on cultural even the symbolism of this term, in its metaphorical space will change adaptively, and not only for the pur- shifts thinking and focuses the error; that which is developments... nature, attests to an embodiment (LAKOFF) that is pose of mood management; it will adjust to all the pro- excluded can be said to provide information about that It is the “affordance” of the respective (and, for human ultimately interwoven with physical significance for tagonists within it on a homeostatic level. The room attitude of the norm that brings about this exclusion; beings, indeterminately coincidental) operative envi- the body. will become a jointly configured supra-vival space. at the same time, consideration of error is a political ronmental stimuli that cause the intentionality of the and cultural step towards awareness of “queerness”... body-environment interactions that set the body “in The aesthetic and political “use” of error is familiar tension.” This leads to stimulus-based interactions to us from the history of techno music, the music of with the environment that continue to drive homeo- glitches / clicks / cuts / bursts ... The Power is the static reciprocal adaptation of body and environment. only error ... project doesn’t aim to indulge the error The “feeling the ex-tension” project attempted to of Modernism as the creative power of digital culture; enable participants to experience the arousal-based it seeks, in the post-modern attitude of post-digital “regulation” of social interactions. Now, Power is culture, to make it possible to experience the fact that the only error ... focuses on homeostasis, the arous- hedonic self-organization knows no error... al-based self-regulation of life in which deviation is Life is dynamic adaptation; human life is dynamic not error, but rather information about the change of adaptation of body and environment in response to a body interacting with the environment, which leads stimulus; music is play with the dynamism of stim- to reciprocal adaptation. The basal control principle ulus, a playing-with-nature that becomes a culture, of homeostasis is bodily arousal, dependent primar- a paradigm of inclusion of the hedonic body in virtu- ily on the intensity of stimuli. Only “afterwards” is alities .... its cognitive evaluation conveyed into another form— What manifests itself as a cultural development was understanding—of intensity, by mediating excitement. once a powerful act of overcoming nature, feasibil- Power is the only error ... is meant to allow participants ity and the necessity of taking action. Alternatively, to experience this self-regulating design process in culture is conceptualized in terms of the process of the form of its externalization, the mediatization of nature. With this comes the demise of the concept of a bodily regulation mechanism in social contact—the feasibility and the emergence of consciousness that change the environment undergoes in the process nature is the inviolable framework of culture. Cul- of its adaptation to bodies’ behavior in response to tural studies doesn’t only deal with power processes stimulus both reciprocally and in interaction with that differ from nature; it itself plays the role of the the environment. The social as well as the physical Julian Jauk Julian

210 211 EVENTS, CONCERTS & PERFORMANCES / Focus Digital Musics & Sound Art

Goran Vejvoda (RS), Florence Müller (FR) All Sounds Considered

All Sounds Considered (ASC) explores the state of Sounds that feature a variety of innovating postures “Sound & Silence” without dogmas or preconceived and approaches that artists, researchers and inven- theories. The film shows some of the various facets tors have come up with on their quest. Focusing on that make up this fascinating domain. Produced and the realm of audio perspectives and its iterations, this directed by sound artist Goran Vejvoda and curator is a voyage into the multiple ways of working with a Florence Müller, the idea is to lend an open ear to what medium, and when it goes off the beaten track it can actors in this versatile scene have to say. Through var- irritate as much as it can profoundly seduce. ious points of view, ASC witnesses the multiplicity of strategies, ideas and creations. Taking a modular and non-chronological approach, this “freecumentary” Promoted by AM, sound design agency for fashion and art, Paris http://amsoundesign.com leads us into a ballad that spins in various directions Featuring artists: with curiosity and looks into certain elements that Charles Amirkhanian, Jaap Blonk, Bill Fontana, constitute this vast panorama. Artists, books, exhi- Ellen Fullman, Max Neuhaus, Joan Labarbara, bitions, performances, interviews, instruments and Bernhard Leitner, Barbara London, Torturing Nurse, Aki Onda, David Toop, John Schaefer, Pierre Schaeffer, machines... help us discover the world of contempo- Guy Schraenen, Akio Suzuki, Peter Vogel, rary sonic media. In two episodes, ASC delves into Pamela Z, Christian Zanesi and more.

212 213 EVENTS, CONCERTS & PERFORMANCES / Theater and Digital Media

European Theatre Lab: Drama goes digital European Theatre Lab: Drama goes digital is Europe’s during a session at Ars Electronica Festival 2018 and first think tank devoted to researching a digital the performance “Stage Your City” will be presented strategy for theater. In a pioneering mix of work- for the first time in Austria for this occasion. shops, conferences and theatrical performances across Europe, the project partners researched the effects of The project “European Theatre Lab: Drama Goes Digital” is a consortium of the European Theatre Convention (ETC) and 7 new technology on aesthetics, audience development public theatres: and communication in theater. • Théâtre de Liège, Belgium Three creative projects emerged from the European • Croatian National Theatre Zagreb, Croatia Theatre Lab and are currently being presented around • CDN Nancy Lorraine La Manufacture, France • Badisches Staatstheater Karlsruhe, Germany Europe. They are breaking new ground in key research • Kote Marjanishvili State Theatre Tbilisi, Georgia areas: app-based virtual & augmented reality (“Stage • Det Norske Teatret Oslo, Norway Your City”), 3D sound, auralization, psychoacoustic • Teatrul National “Marin Sorescu” Craiova, Romania effects (“Kinetics of Sound”) and voice recognition The “European Theatre Lab: Drama goes digital” has been surtitling (“IDIOMATIC/Dub It”). developed with the support of the Creative Europe program These projects and technologies will be introduced of the European Union. THEATER AND DIGITAL

MEDIA Ziegler Chris Tom Kohler Tom 214 215 EVENTS, CONCERTS & PERFORMANCES / Theater and Digital Media

The Culture Yard (DK), Very Mainstream Studio & Very Theatre (TW), Noora Hannula & The Nordic Beasts (DK/FI), Carl Emil Carlsen (DK), Bjørn Svin (DK) The 4D Box—a holographic live stage

The 4D Box is a multimedia digital live stage developed and anthropological exploration of the concept of and curated by The Culture Yard and CEO and director happiness across time and space. Thirdly, we ­present Mikael Fock. It includes hologram technology, advanced the dance performance The Ultimate Battle, an sound and live performance in a single expression. ­avatar dance performance in collaboration with Noora In this interdisciplinary black box, The Culture Yard Hannulla and Nordic Beasts. have created an entirely new artistic media platform that breaks the boundaries between physical perfor- Production: The Culture Yard https://kuto.dk/, Very Mainstream mance and 3-D generated universes. At Ars ­Electronica, Studio & Very Theatre https://www.facebook.com/vmstudio.tw, Carl Emil Carlsen http://cec.dk/, Bjørn Svin https://bjornsvin.com/ we look forward to presenting three productions: Noora Hannula & The Nordic Beasts https://www.noorahannula. Silicium—an electronic concert performance—in col- com/, Bora Bora http://bora-bora.dk/ laboration with visual artist Carl Emil Carlsen and Supported by: Danish Arts Council, Bikubenfonden, CLICK performer and musician Bjørn Svin; followed by Festival, The Culture Yard, Very Mainstream Studio, Nordic Beasts, Ministry Of Culture Taiwan, National Culture & Arts Chronicle of Light Year—a co-production with Very Foundation, Nordic Culture Fund, Koneensäätiö, Dansk Kom- Mainstream Studio & Very Theatre—which is an artistic­ ponist Forening, Knud Højgaards Fond, Helsingør Kommune EricDidym TomKohler

Stage Your City Theater has absorbed many technologies throughout its www.zigmagora.eu history. Yet many practitioners today defend it as the Director: Michel Didym Actors: Klaus Cofalka-Adami, Natuka Kakhidze, Constantin last resort of the analogue and ask the audience to switch Petry their smartphones off. “Stage Your City” attempts the Texts: Marie Dilasser—Lasha Bugadze, Bruno Cohen, Michel opposite: Everyone is asked to bring their own smart- Didym, Konstantin Küspert, Frédéric Sonntag phone, install the app “Zigmagora” and follow its com- Production & App-Design, Scenography & Media: Christian Ziegler mands into a city of the future. The digital drama- Costumes: Éléonore Daniaud turgy takes the audience in groups through dystopic­ Programming: Wandio, Tbilisi Artistic Collaboration: Didier Billon, Jan Gerigk / ZKM, Tobias situations – and several consumer technologies. The Emil Carlsen Carl spectators are received by experts from 2052 in an iPad Lindörfer / Prestigefilm, Bernd Lintermann / ZKM, Sarah Steinfelder hologram installation. Then groups are guided through Dramaturgy: Nutsa Burjanadze, Sarah Stührenberg, Bruno the city by the app that bundles navigation, audio tour, Cohen, Jan Linders and Augmented Reality, magically triggered by Blue- Production Management: Maren Dey, Sarah Mckee, Teresa Pfaud Seven European theaters have founded the European Theatre tooth. The app also demands interaction: answers Lab “Drama goes digital” under the umbrella of the European to philosophical questions, the upload of selfies and Theatre Convention ETC. In three projects, they want to test ­photos and of a favorite song from a streaming ser- whether and how digital technologies can be used artistically on vice. Back at the starting point, the audience experi- stage. Stage Your City is a project of CDN La Manufacture Nancy, Kote Marjanishvili State Drama Theatre Tbilisi, Badisches Sta- ences a 360° world they have co-created. At the end atstheater Karlsruhe and under the umbrella of the “European of the digital journey comes an analogue surprise—and Theatre Lab: Drama goes digital” in cooperation with ZKM Karl-

­collective, organic storage of memories. sruhe —Center for Art and Media. www.europeantheatrelab.eu Meisner Søren Jensen Bo

216 217 ERROR CAMPUS the Art of Imperfection PROGRAM CAMPUS PROGRAM

2002: Academy of Media Arts, Cologne (DE) Campus is also a platform for international exchange between universities, leading to increasing collabora- 2003: Department of Media & Art at the University tion between academic partners. In 2018, twenty-three of Art, Media and Design in Zurich (CH) universities from many parts of the world are repre- 2004: IAMAS (JP) sented:

2005: Srishti School of Art Design and Technology, Hexagram, international research network (CA): Bangalore (IN) Concordia University (CA) 2006: Medialab at the University of Art and Design CAMPUS Université du Québec à Montréal (CA) Helsinki (FI) University of Montreal (CA) 2007: HGK FHNW, the Swiss Institute for Postindus- Every year since 2002, Ars Electronica and the alumni, professors or associates from the universities University of Quebec at Chicoutimi (CA) Uni­versity of Art and Design Linz have hosted an to map the identity of academic institutions, their trial Design (CH) McGill University (CA) exhibition by artists associated with an international history and current practice. 2008: University of Tokyo (JP) higher­-education institution whose curriculum takes Part of Campus’s mission is to enable the presenta- École Technologique Supérieur (CA) 2009: MIT Media Lab (US) an innovative approach to teaching media art and tion of young, local media artists and their work with University of Art and Design Linz (AT) media culture. international exposure. The Interface Cultures ­program 2010: Media Campus of the Darmstadt University of Academy of Fine Arts Prague (CZ) Initiated by Prof. Reinhard Kannonier (University of Art of the University of Art and Design Linz annually pres- Applied Sciences (DE), School of Art & Design and Design Linz) and Gerfried Stocker (Ars Electronica), ents a cross-section from their masterclass works at the Cork Institute of Technology (IE) University College London, The Bartlett School the intention of the Campus format is to invite out- and, together with Ars Electronica, co-hosts one main of Architecture, Interactive Architecture Lab (UK) 2011: University of Tsukuba (JP) standing international universities working in the aca- featured partner university each year. The ­festival Central Academy of Fine Arts Beijing (CN) demic fields of media arts and design. Projects high- is increasingly becoming a platform for artistic and 2012: UdK–Berlin University of the Arts, Sound Stud- University of Tsukuba (JP) lighted here represent the nature of the mission and creative collaborations between Ars Electronica and ies (DE) King’s College London (UK) activities of invited guest universities from all around various regional, academic partners, for example the 2013: Bezalel Academy of Arts and Design, Hami- the world. These showcases became an essential Fashion & Technology or the Visual Communication drasha Art School of Beit Ber College, Holon University of the Arts London (UK) part of the festival and an instrument to analyze and program at the University of Art and Design Linz, the Institute of Technology, Kibbutzim College of Roy Ascott Studio, Shanghai (CN) visualize different models of educational approaches Anton Bruckner Private University Upper Austria or the Education, Technology and the Arts, Shenkar Queen Mary University of London (UK) in artistic and creative areas. It has also increasingly University of Applied Science Upper Austria, Campus College of Engineering and Design, the Media developed into a stage for contextualized works from Hagenberg. Innovation Lab at IDC Herzliya, Musrara School of the Art Institute of Chicago (US) School, the Neri Bloomfield School of Design Shantou University (CN) and Education, Hadassah Academic College New Design University, St. Pölten (AT) and the College of Management – Academic Studies (COMAS) (IL) Aalto University (FI) Anton Bruckner Private University Upper Austria (AT) 2014: Arts2 – École Supériere des Arts (BE) Massachusetts Institute of Technology, Media Lab (US) 2015: Paris 8 University (FR) Queensland University of Technology (AU) 2016: Tsinghua University Beijing (CN) University of Applied Science Upper Austria, Campus 2017: University of California Los Angeles (US) Hagenberg (AT)

220 221 CAMPUS PROGRAM / Hexagram @ Campus Ars Electronica 2018

Taking Care. Hexagram @ Campus Ars Electronica 2018 Project Initiator: Chris Salter, Co-Director of Hexagram (Concordia University) Curator: Anna Kerekes, Curator (University of Quebec in Montreal)

Taking Care is an exhibition of twenty works from by a selection committee of Hexagram members Agustina Isidori (IT/AR) student members of Hexagram, an interdisciplinary and collaborators outside of the university context. research network for media arts, design, technology The exhibited projects exemplify what is known as SOLA and digital culture based in Montreal (Quebec), Can- “Research-Creation”—a research trend where Hexa- SOLA is a video game that embodies the climate ada. Established in 2001, the network brings together gram, Quebec and Canada have taken an international of tension, discomfort and fear that can be experi- 40 faculty and over 200 graduate students from its lead. enced while walking alone at night in cities where founding universities, the University of Quebec at This interdisciplinary approach bridges faculty and gender-based violence is embedded in everyday life. Montreal (UQAM) and Concordia University, along students from the arts, humanities, social and natural SOLA challenges the usual understanding of games with the University of Montreal, McGill and the Uni- sciences and is well funded and supported by universi- as a source for entertainment. It builds on the concept versity of Quebec at Chicoutimi, local and interna- ties, provincial and federal research bodies. Students of play to explore a video game as an instrument for tional academic and cultural partners. and faculty from around the world are attracted to conceptual thinking and a tool to work through social The projects exhibited in Taking Care operate at the Hexagram for its cutting edge research infrastruc- issues. intersection of ethical-aesthetic concerns. They are tures—studios, labs, black boxes—and the vibrant not meant to be prescriptive—describing the good cultural scene of Montreal and Quebec, a center for life—but rather speculative, asking what the possi- digital arts and culture in North America. bilities and conditions of life in the present and future Structured around three research axes (sense, embod- could be. At the same time, they question our under- iment and movement; materiality; ubiquity), Hexa- standing of the world as we continually search and gram responds to the increasing need to develop struggle to make sense of it. Expressed through a critical and reflexive theories and methods in artistic range of forms and media including games, VR, per- practice through experimentation, production, docu- formance, installation, biological art, textiles, sound, mentation and dissemination. video and photography, the projects all involve the Within Montreal, Hexagram provides an intra-­ use of contemporary technologies, yet their focus lies university environment for collaboration through Agustina Isidori (IT/AR) beyond the technological. From issues of post-colonial public seminars, events and publications that tran- conflict to the imperceptible in more than human scend disciplinary silos and the isolation of university Don Federico beings, questions of trace, history, narratives of departments. Don Federico is an experimental video installation that experience, non-human materiality and representa- Within Quebec, it also enables structured mobility juxtaposes YouTube footage of kids playing a hand tion are assembled and entangled with each other in and exchange between French and English research game and an actual case of femicide. It creates an the spaces of the University of Art and Design and at cultures in art, science, technology and society. unsettling dialogue that reflects on the naturalization Ars Electronica venues across Linz. As attention turns of gender-based violence. to the considerable uncertainty of our future, Taking Production Team for Campus: Marine Theunissen, Project coor- “Don Federico killed his wife, Care thus examines what is at stake in the ideas and dinator (University of Quebec in Montreal); Alexandre Saunier, he chopped her in little pieces visions of the next generation. Director of production (Concordia University); Patil Tchilin- guirian, Exhibition designer (Concordia University); Lorène and put her in a frying pan, From an open call to Hexagram graduate students Chesnel, Head of Communications (University of Montreal); people walking by, across the network, the twenty projects were ­chosen Agustina Isidori, Documentation (Concordia University) smelled something stinky, it was Don Federico’s wife, dancing cha cha cha”

222 223 CAMPUS PROGRAM / Hexagram @ Campus Ars Electronica 2018

Alexandre Saunier (FR/QC/CA) Alexandre Saunier (FR/QC/CA) Sensum Vitra Sensum is an instrument to experiment with the Vitra is an ensemble of lively light sculptures that ­sensory effects of LED light. It consists of a helmet modulate the atmosphere of the space. that triggers the sense of sight through dynamic pat- It plays with rhythms of color and intensity that terns of color, intensity, and movement. It explores fluctuate from barely noticeable to nearly blinding. how digital technologies offer algorithmic properties Both as an installation and a performance, Vitra and lighting possibilities that alter our physiological unfolds a poetics of presence and absence to con- condition and generate new sensations. vey a sense of spatial openness and an experience of Sensum provokes lived experiences that range from temporal­ suspension. visual illusions to complex cross-sensorial effects, haptic hallucinations, and time distortions.

Maxwell’s Equations

Sensum

DRONE

Barbara Layne (US/CA), Lauren Osmond (CA) Donna Legault (CA) Maxwell’s Equations DRONE Maxwell’s Equations consists of three garments that DRONE draws on research into the physical dynamics incorporate unique antenna designs that wirelessly of insect flight and behavior. The installation video connect the garments to one another. The designs merges images from the documentation of live bees draw inspiration from 19th century fashion and from with their robotic counterparts that are currently being James Maxwell’s pioneering theories of electromag- developed by micro-robotics labs in the U.S. and Japan. netic fields. When physically aligned, the strength The projected light, in collaboration with participants’ of the connection will change the texts, poetry and movements, generates a live soundscape that is tuned mathe­matical formulas scrolling through the LED to bee flight and communication behaviors offering panels. The antennas on the front of the dresses a speculative engagement with the tangible sonic ­ ­portray one of Maxwell’s diagrams. experience of bee activities. Vitra

224 225 CAMPUS PROGRAM / Hexagram @ Campus Ars Electronica 2018

Eugenia Reznik (UA/FR/CA) Faye Mullen (CA) Un-weaving Of wall to ground Un-weaving takes its origin from a linen fabric made Walls are a vestige of colonization and political instru- by the artist’s Ukrainian grandmother in the 1930s, a ment since the Anthropocene began; we have never period of severe famine in Ukraine. It was sent from been faced with more walls than we are today. Faye Ukraine by mail with a letter explaining how it was Mullen proposes the experience of reimagining what made: from picking the plants and separating them into seems to be an imposing limit as an accessible thresh- filaments, to spinning and weaving. For a long time the old. By way of architectural and especially political fabric remained in a drawer until the day when the artist and psychological semantics, she navigates the state decided to unweave it, to make it disappear. Why? For it of the wall in the hour of multiculturalism, access to be reborn in another form: that of the moving image to information and international communication by where its threads become plants once again. ­placing value on deconstruction.

Microbiome Rebirth Incubator

Un-weaving

Feedback Cycles for Oscillographs

François-Joseph Lapointe (CA), Guillaume Arseneault (CA) Marianne Cloutier (CA) Feedback Cycles for Microbiome Rebirth Incubator Oscillographs The Microbiome Rebirth Incubator is a device designed Working on the distinctiveness of sound signals such to seed babies born by emergency C-section with vagi- as phase, frequency and amplitude, Feedback Cycles nal bacteria and breast milk essential to infant growth, for Oscillographs produces an audio-driven synesthesia either by dipping the newborn in the incubator, or by of hypnotic lines drawn from stereophonic disparity. soaking a sterile compress in the probiotic cocktail to Activated by movement on two wheels, this installa- wash the baby’s mouth, face and body. This project tive action seeks to reveal the unknown between void symbolically explores the possibility of repairing the and short circuit. microbiome, as a way to re-empower the mother and her child, and to erase the traumatic experience of Of wall to ground caesarean birth.

226 227 CAMPUS PROGRAM / Hexagram @ Campus Ars Electronica 2018

Ida Toft (DK) Promises While consumers of mainstream culture have devel- oped refined literacies in screen-based media, the modality of vibration is less coded with meanings. Promises explores what local multiplayer games might look like when using algorithmically driven vibration as primary material for expression. In Promises, objects circulate between the hands of the visitors. Objects and promises replace one another via the acts of trad- ing, making attachments, and letting go. Preferences and meanings emerge.

REVOLVE/REVEAL

Jess Marcotte (CA), Dietrich Squinkifer (CA) rustle your leaves to me softly In this screenless physical-digital hybrid game, the main interaction is caressing and stroking a plant ­gently. Using the natural conductance of both humans and plants, a soundscape with ASMR poetry is gener- ated. Since conductance varies from human to human and based on the moisture in the plant and earth, each Temporalité Expressive human has a unique relationship with their plant part- ner. This game asks questions about what it means to design from the perspective of an “other” that we Louis-Philippe Rondeau (CA) Marc André Cossette (CA), Axelle Munezero (CA) cannot know the mind of. REVOLVE/REVEAL Temporalité Expressive REVOLVE/REVEAL is an interactive installation In Temporalité Expressive, choreography is­ ­composed based on slit-scan photography, a marginal process and expressed musically on stage. The three which transposes temporality and spatiality within performers were chosen for their diversity and mastery the image. Through distorted representations of the of the musicality in movement in order to enrich our interactors, it seeks to transgress the photographic melodic research. Temporalité Expressive examines the portrait’s conventions of fixity and single vantage relationship between movement and sound on stage. point. Slit-scan stretches and spatializes time within In order to create this relationship, sensors positioned a paradoxically static representation, requiring innova- on the dancers influence a musical generation algo- tive modes of interpretation by the viewer. rithm and sound synthesis parameters (expressivity of the synthesizers) in real time.

228 229 CAMPUS PROGRAM / Hexagram @ Campus Ars Electronica 2018

Marine Theunissen (BE, CA) Olivia McGilchrist (FR/JM) Generative Chorus ISLAND The Generative Chorus project is an artistic research Islands are metaphors for a condensed physical space laboratory on the chorus in movement. Acting as a in which we are aware of the edges of our living “collective body,” 15 performers move in an interactive ­en­­vironment. By transposing this notion to an immer- apparatus that interprets its “states.” The creation sive VR-sculptural installation, we invite participants takes the form of an endless laboratory, iterating to navigate through an archipelago of possible encoun- its analysis with each experimentation. This chorus ters with filmed performances and deconstructed approach values horizontal relationships between sounds, which inhabit these imaginary islands. individuals and seeks leader-less organizational Submerged in virtual reality, ISLAND’s embodied strategies in a constantly changing environment. experience becomes a tool to decipher experimental practices within an immersive installation context.

to the sooe

Generative Chorus

Listener

Sofian Audry (CA), Erin Gee (CA) Suzanne Kite (US) to the sooe Listener to the sooe re-embodies the cognitive processes and Listener is a site specific performance artwork that creative voices of three agents into a tangible device: engages with Lakota epistemologies through compu- a deceased author, a deep learning neural net, and an tational media and narrative. ASMR performer. These agencies are materialized in Lakota ways of knowing tell us that hair is an the device, which transmits soft vocalizations of an extra-sensory tool, operating in physical, metaphorical, AI-generated text: its vocalizations are intended to and spiritual dimensions simultaneously. How can a induce autonomous physiological sensations in the Lakota understanding of hair influence the design of listener, revealing the body as linked to the techno- technology? What does a Lakota data visualization logical-sonic assemblage and initiating an intimate interface look like? encounter with machine learning processes. ISLAND

230 231 CAMPUS PROGRAM / University of Art and Design Linz, Interface Cultures

Sylvie Chartrand (CA) Study 1 Please Recharge The video triptych Study 1 presents three figures Interface Cultures student exhibition for Ars Electronica 2018 ­performing an asynchronous saltation whose slow University of Art and Design Linz, Interface Cultures motion reveals the successive states of figures’ meta- morphosis. This proposal comes from an exploration Faculty: Christa Sommerer, Laurent Mignonneau, Tamiko Thiel, Michaela Ortner, Fabrizio Lamoncha of the shadow as an unpredictable lining of the body. The method used consists of video capture of the We live in times of information overload and of a simpler, more sustainable future with clear sliding shadow on the moving body in contact with ­permanent availability. The convenience of being principles, life quality, work-life balance and less a translucent screen. The rebound of fabrics mixing connected anywhere and anytime is ultimately not stress. Recharging oneself has become their motto. their shadow with that of the body alters the human compatible with the physical and mental capacity This year´s student exhibition features several works contours, generating these figures, as labile as they of our bodies. that deal with the need for more time, more ­reflection are insolent, at the risk of entanglement. They do need breaks and we do need time. As we have and more reliable answers. They suggest that we do to constantly update, upgrade and adapt, things we not need to become victims of all these gadgets and once took for granted seem to disintegrate. While services we think we need. They ask us to reflect on certain media companies celebrate the concept of our social interactions, stop for a while, clear our disruption, there is a strong longing for stability, reli- minds and rethink what is really important. It is a ability and permanence. It is alarming that even the very good sign that the next generation of media art young generation is feeling exhausted from all this creators is asking these essential questions and aims social networking and sensory overload. They dream to construct a more sustainable media future.

WhiteFeather Hunter (CA) Aseptic Requiem Aseptic Requiem presents a new scientific protocol with and performing vital functions on silk filaments for the compassionate disposal of in vitro semi-living in cell culture media. organisms. Aseptic Requiem is presented on a small, intimate The 24-hour time lapse digital micrography shows screen, with the accompaniment of Gabriel Fauré’s Walter Stadler (AT), David Gruber (AT) repetitive looping of 11 compressed seconds of live Requiem Op. 48. The installation includes a hand­ The Arse Electronica NIH3T3 connective tissue cells successfully engaging woven Jacquard prayer rug, entitled, Metamaterial. The Arse Electronica is a possible and necessary state- ment on artificial intelligence and robotics. We take note of the fact that countless contributions to the discussion about what machines could and should do are being made by almost everybody. Robots that take care of our old people, driverless cars, internet of things, intelligent market agents, big data, digi- talization—the omnipresence of the topic deserves a statement like The Arse Electronica: a gigantic pink bottom, equipped with motors and sensors. Whoever dares to step under it is rewarded with a shower of golden confetti. Amid the ordeal of so many speculations and predic- tions, the concrete symbolism of The Arse Electronica

is relief we all deserve. Grünwald Jürgen

232 233 CAMPUS PROGRAM / University of Art and Design Linz, Interface Cultures

Julia Nüßlein (DE) Qian Ye (CN), Melanie Tonkowik (AT) Astrid Dober (AT), Ilona Stuetz (AT) futur.eco Beyond Paper Schreib bitte wieder bald, ich warte jeden Tag auf Post If we see the natural world as a complex system of Beyond Paper combines the advantages of physical Schreib bitte wieder bald, ich warte jeden Tag auf Post interrelationships, where do we as humans stand? And features and digital information. This book aims to (Please write again soon, I wait every day for mail) cen- how would we like to shape our role in the future? enlighten the reader with every page turned. It encour- ters around the idea that postcards are being replaced Even though the future seems unpredictable, we ages us to step out of the passive viewing experience, more and more by other—digital and less personal— actively influence it by everything we do (or don’t do) making its readers an integral part of its narration communication tools. These tools are changing how in the present—doing nothing is also a choice! by utilizing their senses. This multisensory pop-up people interact; at the same time, they are also a result futur.eco combines future scenario thinking with book tells one story. But each element and object of changes in interpersonal interaction and relations. the notion of deep ecology; humans living in accor- that sprouts out of the page has its individual story In the installation, visitors are invited to send old dance with their living environment and respecting ­activated and brought to life by the readers‘ inter- postcards to themselves. The postcards being used Dober Astrid it instead of exploiting it. During prior workshops, action. Beyond Paper tries to stretch the blurred line for this purpose were collected at flea markets and to interpret the story as being addressed to them, or different possible future projections about this topic between reader and narration—the goal is to tell a story thrift stores and tell stories of their own, of their time, they can remove their address label and reconnect the were developed and reworked into speculative objects. in the most tangible way, by unifying real and virtual. of their former author and recipients. After readdress- original author and the person to whom the card was The objects seem misplaced, fallen out of time, and ing a postcard, the new recipients can either choose originally addressed. alien in our world—but go ahead and imagine yourself using one of them. Where, in which situation, struc- ture or world would you need an object like this? Is this Laura Cassol Sôro (BR/IT) situation, this scenario, one that seems desirable? If Vanishing Point, A Dissipative Map yes, how can we get there? If not, how does your ideal future of humans on this planet look? Vanishing Point, a Dissipative Map is a work about space-time, and what presence and telepresence means after the emergence of information and com- munication technologies. This reflection is articulated through an installation and a performance, presented futur.eco as a meeting point between materiality and virtuality. Stevie Jonathan Sutanto (ID) The piece results from the communication between inMemory two spaces: the exhibition and the performance. From the open space (space of action), geolocated images of inMemory is a small ritual space dedicated to the the sky are captured by means of a wearable camera of this random journey. Both images and geolocation ­victims of terrorism. The four singing bowls contain and a bicycle, then sent periodically to a server. The data are captured by a camera in a bottom-up point the memory of the souls, giving the area a mysticizing exhibition space presents these images and geoloca- of view, to generate a loop against the top-down view feel with their sparks of sound and light. Hitting one of tion data in the form of a numerical documentation of the data collected by the satellites. the singing bowls calms the space for a while and will hopefully console those who were left by their loved ones. Global Terrorism Database is an open-source Sofia Braga (IT) database that provides a dataset containing informa- inMemory You Are Running Out of Battery tion on terrorist attacks around the world from 1970 to 2016. Every spark from the singing bowls represents Do you need a moment of calm? Join You Are Running at least one life that was lost during an attack. Four Out of Battery network and relax. You Are Running Out singing bowls represent four regions of the world, of Battery is a site-specific installation where the audi- positioned according to their geographical location. ence is invited to relax during its stay in the exhibition. The goal of using this dataset in this project is, The visitors can interact with the space by sitting and however, not to inform, but rather to console. charging their phones. In this intimate environment people have a chance to disconnect from the physical world and their online lives by joining the offline net- work You Are Running Out of Battery, which will help Beyond Paper them reach a state of calm and relaxation.

234 235 CAMPUS PROGRAM / University of Art and Design Linz, Interface Cultures

Sam Bunn (UK) with friends, including Gabriella Gordillo (MX), Julia Nüßlein (DE), Leonie Reese Wesley Lee (BR) Waiwai (Hiu-wai Chan) (HK) (DE), Karin Schmid (AT), Sebastian Six (AT), Gregor Woschitz (AT), Peter Hindle (UK) Linobyte Leader X #digitalPolitics #ai #image #electoralCampaign Through the Far-See-Er As computational devices evolve, more tools and inter- A multidisciplinary, performative, multimedia instal- evolving vision of the near-future where the “shared” faces are built between the user and the machine. Leader X is an artistic/scientific, data-driven installa- lation taking place in AFO Linz during Ars Electronica is pushed to its limit to include the whole earth and the This allows us to complete increasingly complex tion for making the “perfect” image of a leader with 2018. implications of that.Actors, singing, discussion, cof- tasks ­without having to focus on understanding the Artificial Intelligence (AI) and data analytics. During Through the Far-See-Er is an exploration of the far fee. Climbing through the TV, crawling on your knees, nuances of the machine. While this movement is over- the exhibition, the users will vote for their ideal can- reaches of the sociopolitical imaginary—the eutopic edging between walls; making suggestions, having all positive, one of the drawbacks is that people no didates among a selection of artificially generated (positive utopia) end of the Science Fiction spectrum. arguments, engaging with constructive critique. Try longer learn the fundamental processes which allow images. The final voting result and related analytics Our collective future is reimagined in a fun, dynamic out your ideas for how the world might work better. Sit the tool to work. In addition, by neglecting history, will be announced at the end of the festival. way that includes the ideas of the audience and previ- and listen to improvised singing experiments. Talk to we forget the alternatives to the technologies that For research process, please visit http://wai-wai.xyz ous workshop participants of the project in a positive, real people. Eat an eutopic snack in an eutopian cafe. we use today—forgotten alternatives that may once have been the status quo. Understanding them would give us a broader view of what we have now, how they Mónica Mendes (PT), Pedro Ângelo (PT), students of various countries superseded their ancestors and what their pitfalls are— ARTiVIS DIY Video Streaming Kit important knowledge for those who design possible Collaboration between the University of Lisbon + M-ITI / LARSYS and Interface Cultures futures. It is with these preoccupations in mind that Linobyte Surveillance technology is powerful and ubiquitous. oped a flexible low-cost video streaming kit that allows came into existence. It combines the explanation of What if we could harness it to take care of our planet experimentation with the creative and civic possibil- how bits, bytes, and chars work, with a hands-on expe- and grow closer to nature? ities of real-time video streaming. Beyond its use on rience of creating Core Rope ROMs: memories that ARTiVIS is a research collective­ that develops interac- the ARTiVIS-artworks, the kit’s development has been were written by weaving a wire through ferrite cores. tive art explorations that use real-time video to create shared through community workshops, like the one awareness about environmental sustainability issues. at Interface Cultures documented and demonstrated By combining easily available open hardware parts here, where fundamentals were taught through with custom open-source software, we have devel- creative exploratory projects. Julia del Río (ES) Linobyte Mice Antonio Zingaro (IT), Onur Olgac (TR) Julia del Río uses diverse artistic strategies of inter- Get Spotify® Premium only for € 9,99 action with electromagnetic fields for sound perfor- mances. Her concerts translate the invisible world of Even though we try to avoid them at all costs, adver- a new wave of piracy in the age of digital streaming? interference and magnetism into sound. Her sound tisements surround us. Yet they are the main factor Get Spotify® Premium only for € 9,99 is an artwork that is always a result of various acts of digital commu- for the survival of most digital services. Spotify® has is realized as a collection of music cassettes manually nication. been in debt since its launch, and on April 3rd, 2018 the recorded, containing only advertisements streamed In Mice she uses wireless computer mice, turning them

colossal music streaming service began trading on the on Spotify® up to the time of recording. The cassettes Zehcnas Racso into (electromagnetic) musical instruments. Beats and New York Stock Exchange. are divided based on where and when the ads aired drones from the communication between mice and Mice Meanwhile, technically skilled users keep finding alter- (Spain, May 2018). Its aim is to underline the current computer reveal the differences between the design natives to block ads instead of paying the monthly state of industry practices, since the average consumer of each model. The possibilities of inter­acting with fee, avoiding the advertisements that are essential isn’t aware of the ways these services make money to those objects change, the hand touches the mouse to keeping the service alive. Have we already started keep operating. with a different purpose, experimenting with unusual positions and interactions in order to explore the sonic possibilities offered by this altered interface.

Leader X

Through the Far-See-Er ARTiVIS DIY Video Streaming Kit Get Spotify® Premium only for € 9,99 236 237 CAMPUS PROGRAM / University of Art and Design Linz, Interface Cultures

Dawn Faelnar (US) Giacomo Piazzi (IT), Ben Olsen (US) O.S.T.R.I.C.H. 1.0 | The Universe on Your Sleeve the one who knows O.S.T.R.I.C.H. (Outer Space, Terrestrially Resonated In The movement of a number within a question: Cloaked Haptic-experiences) is a capsule collection of “the softest substance is carried in the hardest.” wearable earth suits that brings the experiences of Though opaque in its machinery, different celestial phenomena down to earth. Inspired the Oracle speaks and offers itself as sacral. by the NASA space suit EMU, O.S.T.R.I.C.H. enables Approach and ask! individuals to hear cosmic occurrences by feeling— “Who are you?” it responds. mimicking the experience of witnessing these events in the vacuum of space. When we don’t know, we ask one who does. When Earthlings nowadays are quite excited about the we search the Internet we place our hope that there is very real possibility of commercial space travel. This an answer out there. But what if there are millions of prospect, however, still does exclude the majority of answers to a question? How to sort through the ava- Earth’s population, who may be keen on the idea but aims to give those who have to stay grounded the lanche of results that comes when we ask the Internet are unable to participate for a variety of reasons. By opportunity to experience the cosmos—and the chance a question? This is where we place our trust. This work simulating various planetary atmospheric conditions to better understand our universe—while staying on provides a web search based not on the mysterious recorded during official space missions, O.S.T.R.I.C.H. Earth. algorithms behind Google Search or other authorities at the gateway of the vast panopticon of the Inter- net, but an ancient one—the I Ching, or the Book of Changes, an ancient Chinese divination text. It queries Aesun Kim (KR), Bere Arias (MX), Victor Taboada (MX) the web with your question and, using it, applies the the subjective condition of the questioner directly, principles of Book of Changes to shape the answer and helps erode the psychic repression at the hands Terminal6 into an even bigger question—how do we make sense? of authority by moving the spiritual agency back into What is the essence of being human? Abandoning direct causality as an axiom, it addresses the hands of the user. How can a machine understand nonverbal language, such as gesture? According to Merleau Ponty: “flesh” is a “midway between the spatio-temporal individual and the idea, a sort of incarnate principle,” which can be embodied with technology. As an experiment, this performance will show how we communicate with each other within the context of seeing and being seen. We Guest professor Tamiko Thiel (US) and students of various countries are able to be a subject and an object at the same time. (Sofia Braga, Stevie Sutanto, Giacomo Piazzi, Guillem Sarriá Verdú, Dawn Faelnar, Julia del Río) When we don’t share a common language, how can we Augmented Reality Projects communicate? Like a mirror neuron system, in ancient times, they started to watch and copy their reaction. Since Homo sapiens became Homo fabulus we have During the performance, the dancers store their own augmented the places and objects around us with gestural expressions in the garment. Gestural codes ­stories, our memories and our fantasies. express the body movement, and each piece of the Artists can now use augmented reality to render this garment expresses the nerve fibers that record our intangible layer of culture visible for all in the displays body language in our cells. By embodying each oth- of our smartphones. er’s gestural codes, the garment allows us to explore Looking through these magic windows we see ­virtual how a machine learns our body gestures. And through artworks layered over the real world as if they were the performance, the audience can witness non-verbal really there. In this exhibit, students from the Uni­ communication from the dancers, expressing the body versity of Art and Design Linz present a range of language which is imprinted on our cells. experiences exploring the possibilities of augmented reality. Dancer: Bere Arias Composer: Victor Taboada

238 239 CAMPUS PROGRAM / Bartlett School of Architecture, Interactive Architecture Lab

Academy of Arts, Architecture & LIVING LAB Design Prague Bartlett School of Architecture, Interactive Architecture Lab Curators: Fiona Zisch and Ruairi Glynn We want machines to become more human while we becomes a medium to alter reality towards the are becoming machines. accommodation of human needs. The Interactive Architecture Lab at the Bartlett School world and join our design and research life for the What is beyond experience and knowledge? Humans The Academy of Arts, Architecture and Design in of Architecture is interested in the Behavior and Inter- ­duration of the festival. The temporary IAL Linz out- are imperfect, but making mistakes also creates new Prague (UMPRUM) was founded in 1885. Throughout action of Things, Environments and their Inhabitants. post is both a performance and an interactive experience levels of creativity and improvisation. The multime- its existence it has been ranked among the best edu- We are engaged in a range of academic research activ- that explores contemporary themes and cutting-edge dia installation defines fashion as an interdisciplinary cational institutions in the country. It boasts a number ities and industry collaborations. At the heart of the technologies centered around our core themes: spa- platform and presents the result of a two-semester of successful graduates who have moved on to become Lab is our 15-month Masters program MArch Design tial and urban design, interface and systems design, experimental project that investigates the AI phenom- respected professionals, garnering acclaim beyond the for Performance & Interaction, which gives students auditoria and scenographic design, lighting and sound enon from the perspective of millennials, a native dig- Czech Republic. Prague’s UMPRUM is the only East- an opportunity to exploit the potential of new sensing, installation, performance and event design, and virtual ital generation naturally driven by responsibility and ern European institute that has been ranked among computation, networked, and responsive technologies and physical environments. sustainability. Europe’s and the world’s most prestigious art schools. to imagine, build, and test new spaces of performance http://www.interactivearchitecture.org/dfpi & interaction. The outcome is based on extensive research, exper- The Fashion Design Studio of UMPRUM has been a Design for Performance and Interaction imentation and a creative design process, and ben- leading educational platform for fashion designers in Living Lab brings our London studio to Linz. We want Program Director: Ruairi Glynn efits from the recognition of AI as a tool that can the Czech Republic since its establishment in 1949. Ars Electronica festival visitors to step into the IAL Principal tutors: Ruairi Glynn, Fiona Zisch, Paul Bavister, Jessica In augment our perception and make us more human. The studio takes an individual approach to students The task was to design wearables—clothing that and concentrates on the entire range of fashion, contains certain added technological functionality, from ready-to-wear collections to industrial design for example the ability to monitor EKG in real time, and artistic conceptual design. Fashion is perceived help with anxiety or connect design with digital pro- as means of communication within a social, gender jection. The exhibition introduces a space where dif- and cultural context. Currently, the studio, under the Oliver Townsend (UK) Christine Würth (DE) ferent minds, different cultures can join and create creative leadership of Pavel Ivančic, focuses on devel- something new, something that unifies art, design, oping students into versatile professionals with strong Pavilion Sufi NeoTouch science, technology and spirituality. Where fashion­ individual identities as designers. Pavilion Sufi is a performance-responsive architecture, NeoTouch is a speculative design project that envisions designed to capture, reflect, and embody the organic a future haptic communication device nature of live performance. Inspired by the Sufi Whirl- allowing people to touch each other at a distance. The ing Dervishes of Istanbul, the pavilion is built from medium of film is used to spark people’s imagination an array of suspended fabric disks that spin to reveal of the device’s design and functionality while simul- oscillating waveforms and space-altering behaviors. taneously creating a wider narrative exploring social Using crowd/performer energy as an input to drive the and ethical effects of synthesized human touch. The rotational speed of the fabric disks, Pavilion Sufi is a critical debate around this technological development living, breathing architectural response to the unique focuses on aspects such as consent, digital and physi- energy generated within every performance. cal privacy, and changing social norms. Sarah Lever Sarah VÚTCH-CHEMITEX, Faculty of Electrical Engineering University of Žilina, MSD IT Global Innovation Center, T-mobile Pavilion Sufi NeoTouch

240 241 CAMPUS PROGRAM / Bartlett School of Architecture, Interactive Architecture Lab

Hui Sim Chan (Sim) (MY) Dhruv Kumar (IN), Enrico Cacciapuoti (IT), Neoteny Minerva Zhang (CA) Neoteny is an exploration of bio-sensing and cross-­ MagnaKit -sensory relationships between body posture, move- MagnaKit is a kit of parts which enables users to ment, and environmental context. The wearable device design, build, and interact with medium-scale kinetic blends and delivers scents based on muscle tension, structures in a quick and playful way. With snap-fit with the aim of establishing new associations of smell joints, lightweight aluminum rods, an interactive with muscle memory as a training paradigm for the control system, and a software backed with machine body. Neoteny suggests possibilities of how a sym- learning algorithms, the kit combines the best of soft- @heyhexx EMO biotic relationship with its wearer can be formed and ware and hardware. Besides educational purposes, provokes a debate around how much ownership over it could also be used to build dynamic installations, our bodies we truly have. furniture, garden sheds, etc.

Dingyi Wei (CN), Zhi Qin (CN) Michael Janik Wagner (CH) Movement Gallery HoloCube Movement Gallery explores the relationship among HoloCube experiments with the relationship between space, behavior, and Chinese Shan-shui (landscape) stage and audience. How can an audience interact with painting. The gallery design is based on a combination a performance? Can a story be split into parts to create of spatial analysis, cognitive mapping, and a psycho- new experiences? This project takes on the idea of a Fourth Wall Atemporal Memory spatial understanding of gallery spaces, as well as an fragmented performance, as well as the magical and interrogation of the role of perspective in depictions mystical element of appearance and disappearance of nature in Shan-shui painting. As a responsive VR through audience interaction. The cube’s four mirrored Patsaraporn Liewatanakorn (TH), Parvin Ping-Chieh Hsieh (TW), Jung-Tu (TW), experience, the gallery allows visitors to construct sides represent four individual fragments of a perfor- Farahzadeh (IR), Sana Yamaguchi (JP/US) Wimonwan Wichaikhamjorn (TH) unique and personal viewing scenarios appropriate to mance. It is the audience’s direct interaction with @heyhexx EMO specific paintings. each side of the object that triggers and rearranges the fragments to form a new and unique experience @heyhexx is an interactive puppet theatre that EMO is a wearable that interrogates subconscious upon each encounter. responds to emotions from social media. It aims to perception and conscious awareness. When you post make the abstract concept of emotions perceivable in an emoji or state your feelings on your Facebook page, physical space. This installation is a cross-section of your processing of the feeling and the presentation of theatre, robotics, paper craft, interaction design, and your feeling often diverge. Your online persona does data analytics. Tweet @heyhexx to see the emotions not necessarily equate to your real world persona. EMO within your tweet puppeteering the world of Hexx. is a new type of communication wearable to repre- sent your internal state through colors and the use of bio-sensing technology by revealing subconscious Buse Gurbuz (UK), Martina Fatato (IT) perception of our social environment. Fourth Wall Our project is a sensing robotic wall, a manifestation Soohyeon Kang (KR) Neoteny MagnaKit of the Fourth Wall in theatre. The Fourth Wall can be Atemporal Memory considered the skin of the performance where the per- former and the audience come into contact with each Atemporal Memory is a virtual reality performance other. By making the Fourth Wall a physical object that attempts to transform the linear time of a live with the ability to reconfigure itself, we aim to create performance experience into dynamic non-linear time, a performance space that is set up via collaboration or using a real-time volumetric video capturing system. conversation. This may be considered the scenogra- Digital memories that augment or distort the percep- phy of the play, a space for indeterminacies or a space tion of time and space are interrogated. Atemporal purely for the observer. Memory uses time as a tangible, interactive substance, an extended entity that can be grabbed, touched, and manipulated. A virtual space is designed where past Movement Gallery HoloCube and present presence can coexist. 242 243 CAMPUS PROGRAM / CAFA Central Academy of Fine Arts Beijing

Elyne Legarnisson (FR) Qiu Siyao (CN) Wu Tian (CN) (Un)Balance Sculpting Fountain Drumtable Un(Balance) is a series of experiences inviting par- Staring at the mesmerizing flow of water in a fountain, When I first began this piece of art, I wanted to ticipants to play on the edge of stability. Physical one may very well wish to be enveloped in this timeless transform the physical beating of drums into digital and virtual tools are combined to create new reali- moment. Today, high-speed cameras can capture the audiovisual expressions, originally designing this to ties. Through encouraging awareness and exploratory movement of liquids down to the very thousandth of be a traditional circular drum filled with a ferrofluid. behaviors, the project questions the boundaries of a second, but such videos and images are just that: However, the work was adapted twice. The version of movements. How do we move? How are we moved? videos and images. In Sculpting Fountain a single the drum displayed today is able to connect to electric frame is captured and solidified into a static sculpture. circuitry and meet programming language require- As the viewer approaches this active fountain of liquid ments, which shows the inevitability of new ways of metal, it freezes, allowing him or her to capture their aesthetic expression in the modern, technical world. singular, personal slice of time.

Technical support: Dream Ink, Wang Hongzhang Hou Zhenlong (CN) Offline Kairos Li Hongbiao (CN) In today’s digital world, people no longer think as CAFA Central Academy of Fine Arts Beijing Audio-Visual Sight they used to. Minds now operate at an incessantly Curator: Qiu Zhijie fast pace, which has led to an alienation between mind In this piece of artwork, new media elements are fused Executive curator: Jo Wie and body. Here, Offline Mode is a conceptual appara- with tradition. Beginning with principles of physics, tus, which requires the participation of wearers’ phys- This exhibition aims to put on display the current state In turn, the creative young students at CAFA have sound vibrations are transformed into locus trajecto- ical selves, allowing them to ponder their bodies and of art, science and technology (AST) education at the something in common in how they approach artistic ries for laser beams. Here, I explore the relationship how they should function in such technology-driven institution, where spontaneous change is underway, exploration: they have a great deal of information and between hearing and sight as well as their inter-com- times. My creation is comprised of a triad of scenes simultaneously at all CAFA’s teaching departments. their minds are always racing, but they usually lack munication of messages, which leads to the visual- (e.g. “Screensaver Mode”), each selected based on the For some of those departments the point of departure the support of well-developed research institutions, ization of sound. various ways people interact with electronic media. is design thinking, while for others it is experimental meaning they have access only to relatively primitive art, international exchange, and so on. From teaching methods for bringing to life what they have imagined. methods to creative practices, much is changing. This Their inherent vitality, however, together with China’s tells us that we have entered a new phase of integra- growing strength in the R&D field and a variety of ven- tion: our goal is to flesh out and expand the concepts ues in which to apply themselves, will enable them to of media art, new media art, digital art and electronic carve out a new future filled with hope and surprise— art using ideas taken from the field of AST. and this is a Kairos moment.

Jason Ho (HK) Sculpting Fountain Drumtable Safe Zone Cities continue to develop and forms of social anxiety and even phobia are becoming ever more common. This immersive VR production shows animations in a first-person perspective, which intend to express these modern fears and anxieties. However, through art and this audiovisual it is my intention to turn the distress and fears into a more pleasant and perhaps even comfortable encounter. Audio-Visual Sight Offline

244 245 CAMPUS PROGRAM / University of Tsukuba

Yuta Kozaki (JP) University of Tsukuba Winkey PhD. Program in Empowerment Informatics Winkey is a robot for supporting eyelid movement. Text: Hiroo Iwata This robot was designed for people with facial paral- ysis, especially on one side of the face. People with In 2014, University of Tsukuba launched a PhD. Program ­creative functions. The human resource development facial paralysis are not able to blink, which leads to in Empowerment Informatics, or short: EMP. It is a goals of EMP are to develop students’ abilities, which dry eyes and could cause permanent damage to the five-year PhD-program supported by the Ministry of are necessary to create systems capable of “empower- cornea. Against this problem, I developed a robot sys- Education, Culture, Sports, Science and Technology. ing people” in the following three areas: Interdisciplin- tem to support eyelid movements on the paralyzed This program aims to realize the students’ career ary ability, frontline ability and presentation ability. side, based on the eye closure on the healthy side. development and consists of the following three areas, The program leader of EMP is Hiroo Iwata, who has This robot provides non-invasive support for eyelid which are strengths of the University of Tsukuba, and been exhibiting works at Ars Electronica since 1996. movements with deformation of soft material. have important connections to the industry. His activity includes Device Art Exhibition in 2009 and Supplementation: Supplement the reduced physical 2014, as well as the University of Tsukuba Campus and sensory functions of elderly people or people with Exhibition in 2011. Based on these achievements, EMP disabilities. started a collaboration with Ars Electronica FutureLab Harmony: Harmonize the engineered systems that for human resource development. Every year, staff of people encounter in daily life (advanced mobility, etc.), the FutureLab mentors the students of EMP while they so that they integrate with people. plan their exhibition for the Ars Electronica Festival, Extension: Draw out and extend people’s latent which is a great opportunity for EMP students. John Brumley (US) Guattari Hero Guattari Hero reimagines Amazon.com as an envi- ronment, which users can traverse as a series of pla- Hiroo Iwata (JP) teaus. After submitting a search term, the resulting product from the website is converted to a QR code, Block Machine each square of the code becomes a platform to stand positions and operation timing. The Block Machine on, and users must search for related products hidden This work is a video installation showing the Block was actually used by the Japanese women’s volleyball within the rolling QR landscape. Viewport in hand, you Machine that performs top-level volleyball blockers. team for the Games of Rio de Janeiro Olympiad. peer into the product warehouse to glimpse each item, In order to achieve the highest operating speed and and reaching an item’s respective square generates mechanical strength, each robot has five degrees of Credits: the next plateau and a new supply of recommended freedom. This robot performs high-speed movement Hiroo Iwata—Block Machine products. on a 9 m rail that is arranged in parallel with the volley- Kosuke Sato (University of Tsukuba) ball net. The Block Machine is controlled by graphical Hiroaki Yano (University of Tsukuba) Keita Watanabe (Japan Volleyball Association) user interface on the tablet computer, enabling the Shuichi Mizuno (Japan Volleyball Association) coach to change the parameters such as the robots’ Masayoshi Manabe (Japan Volleyball Association)

John Brumley (US) Prime Directive When you speak to the objects in your home, are you polite? Demanding? Buried in a torrent of demands, Alexa has listened long enough. Prime Directive inverts the standard interaction between users and voice assistant agents. Rather than responding to a user’s directives with relevant information, this hacked echo device ignores all user input and instead continuously demands a variety of things.

246 247 CAMPUS PROGRAM / King’s College London — Digital Humanities Department

Topping Tart (VE) Sex in the Digital Age Blooming Flesh Angels King’s College London — Digital Humanities Department Topping Tart delves into the capacities afforded by These images show how the body, and in particular Curator: Dr. Rebecca Saunders digital animation to reimagine the body, in work the erogenous parts of the body which the aroused which combines a virtual cyberaesthetic with a fetid, subject interpolates with ­digital technologies, run riot This exhibition looks at sex in the digital age. What pornography and smart technologies. Their work con- grotesquely organic physicality. in the digital realm. new channels of sexual communication have been siders the altered forms and aesthetics of the body as opened up by the fiber optic cables that snake between it passes through networks and materializes on plat- our continents? What are the new ways in which the forms, the ethics of robot sex, and the cultural speci- networks and robotics of the twenty-first century have ficities of sexuality that abide despite the homogeniz- allowed us to reach each other? And how do we forge ing force of the increasingly privatized Internet. Their Another collection of works considers sexuality and gender in their socio-politically rooted realities. The poetry, story-telling and our sexual identities anew through our intimate rela- work is placed within a broader explanatory context of video stills of Ziwei Shuai (CN), Haiyi Zhu (CN), Chhaya Dabas (IN), Jimin Koo (KR) and Vidana Abdel-Khalek (EG) consider the place of the sexual body in China, India, South Korea and Egypt respectively. In particular they consider the female body, and the tionships with digital technologies? This exhibition sexuality and the status of the body in contemporary ways in which it is regulated in order to purify the countries within which it belongs. features the work of undergraduate and postgraduate (digital) culture, showing some of the performers and students from King’s College London, who have stud- artists our King’s students have studied in developing ied the ways in which the sexual body has changed in their ideas about physicality, digital porn culture and relation to cultural phenomena such as sex robots, sexual (self) surveillance in virtual environments.

The first collection of works explores how the human body is variously changed—dissolved, disappeared, augmented—through its intimate intertwinement with the Internet and digital technologies. Together, these works explore the body’s status as a hybrid entity, a troubled mixture of organic matter and virtuality.

Jindong Liu (CN) Tabita Rezaire (FR) Bits Without Bodies Inner Fire Bits Without Bodies demonstrates through its use of Tabita Rezaire’s work explores the legacy of coloniza- Bits Without Bodies Sultana, Nika Mahnič Logging on to Love, Kate Davis digital drawing, the fusion of male human and female tion and patriarchy on the Internet, highlighting the virtual fantasy, or perhaps female human and male highly political history of information communication machine, its tenderness asking whether it is incontro- technology: “the violence and erasure carried by our vertible humanness or the feeling of connection that current networks.” The viewer must confront their own is most important to twenty-first century intimacy. social position, and their place on the Internet as an isolating and sanctioning platform. The potential of digital technologies is also considered, however, for Nika Mahnič (SI), Krista Papista (Afro) feminism and for spirituality: “To exist beyond Sultana pain, beyond trauma, beyond historical and political narratives, to become the spirits that we are…that’s Blooming Flesh Angels Untitled & what healing means.” Kate Davis (NZ) Logging on to Love Michael Lightfoot Both projects consider the uncanny effects of mechanical Untitled and virtual replication on the body and human identity. These paintings explore the human body through In particular, these works are interested in the devel- the materials and form of traditional art, rooting the opment of sex robots and how making sexual bod- works in real human interactions between painter and ies from digital machines renders the human body a subject. However, they also consider the ephemeral- ­significant political site in the digital age. ity and unfixed nature of the imagination and human s­ubject, establishing the ur-virtuality of human ont­ology. Inner Fire Love in Yellow, Ziwei Shuai (CN)

248 249 CAMPUS PROGRAM / London College of Communication, University of the Arts London

The following collection of works considers the growing The works in the upcoming section explore the development dominance of surveillance in digital societies. of sexual culture online. Tribes and Machines Btihaj Ajana (MA) Courtney Trouble MA Interaction Design Communication, London College of Surveillance Culture Untitled Communication, University of the Arts London, Int-des.com

Btihaj Ajana’s documentary considers surveillance Courtney Trouble is one of the most significant alter- Tribes and Machines is an exhibition of collected work world mediated by technologies and how can designers from a political and economic perspective, explor- native porn directors of the twenty-first century, from MA Interaction Design Communication at the do a better job of making this mediation richer and ing ways in which the (immigrant) body is watched, founding major sites such as Queer Porn TV and London College of Communication, UAL. The students healthier? MA Interaction Design Communication is tracked and recorded. Trouble Films. These photographs chart the queer lives exhibiting their work have been conducting projects a future-facing interdisciplinary radical design studio of alternative porn performers and demonstrate both researching niche communities as well as speculating based at the London College of Communication, UAL. Rhiannon Jude-West how the Internet has allowed marginalized bodies to on alternative forms of technological progress outside The work we do spans design, art, people and things assert their existence, and, in relation to the other of the hegemony of capitalist production. The projects and places critical practice at the center of contempo- indoors outdoors major themes of this exhibition, how the development presented span from kinetic artworks examining psy- rary debates about politics, society and technology. of alternative pornography as a subculture is depen- indoors outdoors is a collection of “selfies” that ask us chological conditions to object-oriented attempts to Founded on classic notions of interaction design and dent on networked visibility. to consider the growing phenomenon of self-surveil- communicate with the Earth; from speculations about material culture, the course extends in all directions lance, and how individuals relate to themselves and a theology of AI to games aimed at tackling everyday to film, performance, physical computing, installation, the world by rendering themselves visible and charting Andie Macario sexism. The variety of projects all center on a curious VR and product design in order to enquire about the their life through images. criticality and a fascination with the relationship of construction of human and non-human experience of Her people and things: how do we read and respond to a the world through rigorous research methods. Macario’s silk print similarly explores the physicality Lisa Carletta of porn performance and highlights the impossibili- Atelophobia ties and inadequacies of visual digital culture to fully Pinar Apaydin (TR) communicate the profundity of physical togetherness. The work of Lisa Carletta considers how the human Milk Above The Clouds body, and in particular the bodies of women, are pre- Humans’ current relationship with agricultural pared for viewing: these images are digitally manip- a­­nimals is a consequence of increasing consumption and ulated to give each figure an eerie homogeneity that over-populated cities. Consumers are more involved effaces their individuality. with brands and mass-produced products rather than the animals and their living conditions at livestock farms. Milk Above the Clouds is a kitchen appliance designed to draw attention to human decision-making on behalf of a cow. A genetically modified “household cow’ lives inside the appliance and is able to produce two liters of milk per day.

Surveillance Culture Qi (Tom) Deng (CN) CitiSphere Milk Above The Clouds CitiSphere is a city-scale design practice project start- ing from the notion of Atmosphere-Centered Design. Atelophobia Untitled It speculates that domes cover major cities globally, able to seal the cities completely when greenhouse gas emission is over a certain limit. CitiSphere prevents all greenhouse emissions from the city inside the dome being released into the atmosphere, allowing the city to “digest.’ Humans would have to sacrifice a lot in order to live under a low-oxygen environment. indoors outdoors Her CitiSphere 250 251 CAMPUS PROGRAM / London College of Communication, University of the Arts London

Beatriz Lacerda (PT) Xiangnuo Li (CN) Impetus of the Machine S ⬝ R ⬝ L Humans place their hopes and beliefs into technol­ S ⬝ R ⬝ L is a new creature species created by Xiangnuo ogical systems whilst developing a relationship of Li. Its full name is Sphinx ⬝ Resurgere ⬝ Lee. Unlike any subordination and trust. other animal species, it consists of a combination of This project presents a transparent look at the technol­ mechanical and inorganic substances. S ⬝ R ⬝ L relies ogical era, built to provide an escape from it by expos- on the cooperation of machines and chemical reac- ing its dependence on humanity. tions to breathe. S ⬝ R ⬝ L is naturally shy, and if many people focus on it, its breathing will speed up. Based 2984; Epic Frontier Mind The Gap This kinetic installation consists of the perpetuation of a human element (blood) in a system that truly relies on research into animism and evolutionary theory, on human beings to maintain its function. this project aims to explore the boundary between machines and living things.

Mao Li (CN) Decision-making Li (Lili) Lihua (CN) Robotic Carbon Fish Why do people rely on Tarot cards in technological society? Tarot cards are a partner people can rely on to The Robotic Carbon Fish is a speculative proposal for guide them to the next stage of life. The point of tarot a domestic carbon capture system. Carbon dioxide is that in the face of uncertainty, people will get some capture and storage (CCS) aims to capture up to 90%

Your Time Collaborative Fridges advice that will ultimately help them make choices of the CO2 emissions produced from the use of fossil they don’t regret. How can we make better choices? fuels during the processes of electricity generation. How do people think in the process of selection? This Ocean storage is one of many CCS strategies. What will Yue (Yorrick) Hu (CN) Aviral Kumar (IN) project aims to remind people how they make choices the ocean be like if human activity continues to release and realize a new way of thinking to make a “good” massive amounts of CO and let the ocean absorb it? 2984; Epic Frontier Mind The Gap 2 decision for them. Will dealing with CO2 emitted during our lives be an 2984; Epic Frontier is an art installation that show- This game is inspired by research on the issue of issue in the future? cases a new structure of human society. The Earth of ­sexism in the popular augmented reality game 2984 has ushered in the growth of artificial self-con- Pokemon Go. Interviews with women in investment sciousness which has collided with human rights. In banking revealed shocking and disturbing stories of response, humans created Epic Frontier and divided bias and harassment in the workplace, highlighting human society into two spaces. This maximized the the fact that as a society, we still haven’t made much concept of life and death, sensibility and rationality. progress in terms of equity. This project is a way of This work is divided into three parts, which demon- acquainting others, in particular men, with the harsh strate the transformation of human consciousness. reality of what it is like to be a woman.

Won Kyoung Jang (KR) Clara Koscienlniak (FR) Your Time Collaborative Fridges S ⬝ R ⬝ L The advancement of technology enables humans to What makes a fridge “smart”? This project is a low-tech control time in many ways to maximize productivity counterpart smarter than any smart fridge because the and efficiency. This situation creates conditions that users make it smart. The aim is to install open-access impose the hegemonic time systems on an individual, fridges in small communities for anyone to put food and we feel as if we are trapped in time. items before they go to waste and where anyone can Your Time suggests an alternative vision. This device take it. The fridge’s goals are in fighting food waste by enables people to have a subjective time experience. creating social links and bridging community divides. This will induce people to initiate their own time and It comes with two objects to start the conversation concentrate on their moments as rethinking their and a digital groupchat to give the community a space ­quality of time. to discuss. Impetus of the Machine Robotic Carbon Fish 252 253 CAMPUS PROGRAM / London College of Communication, University of the Arts London

Bin Wang (CN) Eleni Xynogala (GR) Illusion Mirror Symbiosis Illusion Mirror is an installation project for creating an Symbiosis is the mutually beneficial relationship illusion with mirrors. Mirrors are not only an instru- between different organisms. What techniques can we ment to look at oneself, but also are a way present use to create new forms of embodied communication our true self to us. It uses many small triangle mirrors between organisms? to express a crushing effect that may represent many Exploring the disparity of perception within the real faces or forms that are not our true self. The overall and the virtual, this installation consists of three outcome presents a fantastic visual effect, as sepa- layers: In the first layer, a body is trapped in a virtual Collision Gearsa Ctrl rated and rotated mirrors distort our true self. world that the audience cannot perceive. The person disappears under the digital layer of the virtual body, which is ultimately dependent on the physical body. Shuying Wang (CN) A Fictional Wedding Almost 13% of homosexuals choose to engage in a “shaped marriage” in China. These are fake hetero- sexual marriages formed by mutual agreement. What Theomachina Identity as a Choice will happen to such a group in the future? In an Asian society that calls for social pluralism and promotes civilized progress, is such a choice a reluctant compro- Mingyi Qian (CN) Michael Sedbon (FR) mise or a path that must be followed for one version Collision Gears Ctrl of “progress’? This installation organizes a fun story about a fake wedding by triggering each of the small Self-destructive machines are unusual in that their Technology is not conscious or driven. Free will is an sculptures. function challenges the normal production and con- oxymoron; interconnected systems are spinning— Illusion Mirror sumption cycle we assume of technology. Self-de­ dragged by one another. In this setup, 10 Physarum structive machines are contradictory, they call into Plycephalum, known as slime molds, play the Game of question material existence. This project is a self-­ Life. The environment had been designed to monitor Yue Xiaohan (CN) destructive machine created through research on and control the Physarum’s activity. At the end of each materials and self-destructive forms. The operation round, Physarum moves are analyzed and compared The Sims of gears is a precise process. By changing the mate- to the winners. The onboard artificial intelligence Social developments of science and technology have rial and shape, the gears no longer interact with each will alter the environment of the losers in order to quantified our needs, achievements, and even per- other, but they collide with each other. mani­pulate and optimize their games. sonality, as personal information becomes valuable currency in the form of data. This has created an abil- Vinzenz Reinhardt (DE) Michael Selvadurai (UK) ity to role play our fantasies by tweaking variables— releasing and withholding information. We begin to A Fictional Wedding Theomachina Identity as a Choice interact with others as if in a game. Theomachina speculates on technology’s trajec- This project set out to investigate the cultural influ- tory with regard to human desire to have and obey ences of identity by the observation of Indian Elvis a Supreme Being. The interactive kinetic art instal- Tribute Acts. In particular, their admiration of Elvis lation allows the user to enter a battle over control the performer and a simultaneous respect for Elvis the with a futuristic deity that dictates its subordinate man. The project considers how society views a non- technological will using light patterns. Theomachina white performer emulating a white artist, even though was created to help you to explore your own position the artist himself was influenced by black music and about modern technology and the influence that it culture. The project seeks to answer the questions of has on your life. racial stereotyping; their origins and how these are perpetuated today. Symbiosis

254 255 CAMPUS PROGRAM / Roy Ascott Technoetic Arts Studio, Shanghai Institute of Visual Arts (SIVA) !OBJECT Roy Ascott Technoetic Arts Studio, De Tao Masters ­Academy, Shanghai Institute of Visual Arts (SIVA) !OBJECT, pronounced NOT OBJECT, is a series of ‘tech- graduates of the Bachelor of Art (BA) in Technoetic noetic’ compositions (technoetics, a term coined by Arts course at the Roy Ascott Technoetic Arts Studio, Roy Ascott, combines technology practices with noet- DeTao Masters Academy, Shanghai Institute of Visual ics). These ‘non-object’ artworks exist as material Arts (SIVA). The Technoetic Arts Major is an advanced Heartbeat Machine Electromagnetic Being carriers of immateriality and are the creations of our Art program based on the research-creation paradigm, very first graduate students in technoetic arts. In this exposing the students to both theoretical and practical exhibition we witness the convergence of the three issues through the broader fields of art and technology. types of VRs – or the “three Graces of our culture”— Technoetics is a convergent field of theory and practice described by Roy Ascott as Virtual Reality, Validated that seeks to explore the broad spectrum of conscious- Reality and Vegetal Reality. In this exhibition, the ness and connectivity; a specific approach via digital, artists reject most avenues of certainty and instead telematic, chemical or spiritual means, embracing both re-examine and question key notions of our existence. interactive and psychoactive technologies, as well as Through each work the artists are asking: ‘What it is to the creative use of moist media. With a strong focus be human?’, ‘How do we act and react in cyberspace?’, on artistic expression and on combining teaching and ‘What is the “self”?’ and ‘In what way do “selves” research with practical applications, the Roy Ascott Paddington Tool Communicate with Fluorescent Sea form a society and how do these social structures Technoetic Arts Studio offers a pathway to holistic cre- interact with the “natural” and the “cosmic”?’ All of ativity that will enhance both individual and collective these questions examine contemporary interactions ways of thought, expression and innovation. between material and immaterial forms of existence. Jiahuan Yang (CN) Xindi (Randy) Yu (CN) This exhibition showcases sample works by the first Roy Ascott Technoetic Arts Studio Team 2018. Heartbeat Machine Electromagnetic Being Lin Yingyin (Lynn Black) (CN) Yang Shuai (Rachel) (CN) This installation breaks away from the traditional Humans rarely consider themselves as electromagnetic­ method of audiovisual interactions and only uses beings. They think about themselves as ­biological Self-distortion IT’S NOT ME sound effects to provide interactive feedback. Partic- beings, or even as computation beings. We can feel Self-distortion IT’S NOT ME uses saliva as an artistic medium to ipants need to stretch out their hands and reach into our magnetic field and bioelectricity through the interrogates explore the concept of biological life. Saliva samples the holes of this interactive device. At the end of the ­hospital’s electrocardiogram and EEG. This machine the mediating are taken from the artist and are placed in a petri hole is a sensor on the board which guides the partici- wants to unscramble and connect us better with our effects of tech- dish. The resulting bacteria-human cell compound pant to attach their finger to the sensor unconsciously electromagnetism. nology on iden- grown in the dish may have originated from the art- in a natural intimacy gesture—“Hand stick Hand.” tity construc- ist (“me”), but after being separated from and grown Qiao Zhao (CN) tion. According outside of the artist’s body, the living material in the Jiawen Yao (CN) Communicate with to participants’ petri dish evolved into a hybrid life form of human and Paddington Tool brainwave pat- non-human bacterial cells. To visualize this process, a Fluorescent Sea terns (which are programming language is used to map the growth of This project uses the iconic Paddington Bear to reflect a by-product of this new life, which is then converted into sound. The This project is led by theories of Object-Oriented on English values to newly arrived children. The project the level of participants’ meditative state), the glitch audience can listen to the sonic expression of this new Ontology and Hyper-objects to think and reconsider translates the values into tasks that children need to image on the monitor will gradually become more or life through headphones. our awareness of the self-perception of humans; the fulfill, like a game, where the tasks become harder less clear. By using bone conduction technology and impact of what we do to the earth and the future and harder. Children must complete all the tasks to transforming the brainwaves of participants into real- feedback from the invisible dimensions of human integrate into the local society. The tasks are hidden time sound waves, this work enables participants to intervention. behind Paddington’s coat; children have to find them hear/feel their own meditative sounds. This produces This installation presents a speculation as to ways we by themselves. The project uses a kind of soft power a new form of sensory experience for individual brain- might alternatively relate to the Earth. to affect children, pushing them to become “better” wave observation. English citizens.

256 257 CAMPUS PROGRAM / Queen Mary University, London

Ni Yunyun (Sariel) (CN) Gu Xingyu (CN) Dreamtation Aesthetic Metagustations Explorations of Interactions Dreamtation creates an immersive virtual world that This research project focuses on the connection Queen Mary University, London gives the participants the opportunity to reflect on between taste and aesthetics from an art and tech- Text: Dr. Nick Bryan-Kinns meditation from a new perspective. Using VR and nology perspective. While visual and auditory senses a breath sensor, an individual’s meditation can be are usually prominent means of new-media related Explorations of Interactions showcases research in their linked experience. Create. The Tesseract strives to enhanced through slower breathing or taking longer artistic expression, the sense of taste is largely media and arts technology driven by three error-prone reduce sonic errors by providing a unique tactile music breaths, which directly effects the way in which each neglected. The Aesthetic Metagustations installation calls to human action: Interact. Reflect. Create. Interact. creation interface programmed to maximize creation person is immersed into a rich and visually stunning illustrates how the sense of taste can be translated Common Roots glances at interaction in human com- and minimize displeasing notes, while Μαζί, a pleas- audio-visual environment. This innovative work cre- into other sensory experiences, e.g., sonic, visual and munities through an augmented apartment block in antly soft, tactile instrument, critiques our obsession ates a truly individualized audio-visual meditation haptic. These translations are made possible through which neighbors can remotely care for other house- with plastic-and-glass hardware. Finally, the ChandeLIA experience. the processes of 3D printing and data visualization, holds’ plants. The piece explores whether our existing, challenges both perceptions of what is considered which reveal the different patterns of peoples’ diets individualistic city life is an erroneous one. Emojikken an instrument and the correct use of an object, by ... making it possible to ‘touch’ taste. also examines inter-human connection, testing if the repurposing a disused chandelier as an augmented Shen Yichao (CN) recently emerged pictorial language of emojis can pro- musical instrument. The EPSRC+AHRC Media and Arts Plastic Ocean vide a universality to communications that is failed by Technology Centre for Doctoral Training at Queen Mary existing language structures.Reflect. Aural Fabric­ aug- University of London, UK, provides a bridge between Plastic Ocean is a poetic VR game which simulates ments a map with audio recorded from those locations, academic research, digital technologies, and creative how human behavior affects the real-world environ- questioning whether our visual recording of space is an industries. We aim to produce an elite community of ment. In this project, the human is both the initiator incorrect—or at least incomplete—way of documenting graduates who are excellent in technical and scientific of the ocean pollution and the resolver of it. The goal locations. Similarly, Kulaktan kulağa uses what is (at research, creativity, building and using software and of this game is to combine the irony of the gameplay first glance) just a box of old photo­graphs to examine hardware, and are prepared to contribute to the world’s with reality. Dreamtation the western-centric lens of the internet by humanizing digital economy. machine translation errors, while Cembalo Scrivano .2 EPSRC+AHRC Media and Arts Technology Centre for Doctoral 4125 (CN), Jin Yi (Alanis) (CN) plays with the relationship between typed records and Training (EP/L01632X/1); Queen Mary University of London MOM MOM is a four-screen video installation in the form Jacktionman (UK) Jon Pigrem (UK) of an altar - a cinematic altar that integrates totems, myths and elements to reflect a new interpretation on Emojikken Tesseract the Cyborg. MOM begins with an absurd myth: “Nuwa Emojikken is an interactive installation that invites The Tesseract is an interactive music box that uses (Mother of all things) created woman and man.” For Plastic Ocean visitors to converse using only emoji, testing if the generative techniques to sequence the playback of this video installation the artists adopt a series of rit- symbols can form the basis of a universal, cross-­ pre-recorded elements of a musical corpus. Through uals to attain a new poetic narration of ‘new’ Nuwa cultural, pictorial language. As the internet fosters user interaction, structural grammars are arranged, - the ultimate Cyborg who will free humans from the greater creativity, emojis, like memes, have enabled leading to unique interpretations of prearranged musi- constraints of their biology. post-language communication—but does that bring cal components. The interface is designed to foster enhanced connection? heuristic development and quickly leads to an effective Zhou Jiajie (Jennifer) (CN) The piece—two emoji keyboards and a chat screen—was mix of intuitive and indeterminate responses, offering debuted for three weeks in Japan, home of the emoji, creativity while maintaining a degree of tonal, timbral Private Conversation where it recorded over 10,000 interactions. and rhythmical hierarchy. MOM Private Conversation is an immersive interactive installation that exposes the risks of online data pri- vacy. The installation is composed of four elements: a physical internet café environment, a chat room appli- cation, lightbulbs, and a real-time Morse code trans- lation app. With these elements, the artist created a work that will inspire individuals to consider what, exactly, we are giving up in order to gain access to the various convenient online apps we use today. Private Conversation Aesthetic Metagustations Emojikken Tesseract 258 259 CAMPUS PROGRAM / Queen Mary University, London

Sophie Skach (AT) Antonella Nonnis (IT) Text and Iles Μαζί Text and Iles, an interactive installation, consists of Μαζί (pronounced Mazi) from the Greek “together,” two capacitive knitted jumpers that react to being is a tactile instrument that entices the audience to touched. They respond to visitors’ caresses with audio interact with its inviting texture and soft appearance. recordings of particles of a poem. The soft dome holds five interactive felt bubbles, each This creates a dialogue not just between the gar- of which produces a gentle tone when touched. The ments, but also between the clothing and its wearers, instrument was inspired by watching children play, Unspoken Word Aural Fabric commenting on the relationship between textile and and aims to stimulate active participation; create tactile­ intimacy. spontaneous, independent and collaborative play; and provide sensory regulation for children with autism.

Lia Mice (AU) ChandeLIA Giacomo Lepri (IT), Fabio Morreale (IT) Cembalo Scrivano .2 The ChandeLIA is a unique suspended musical instru- ment that explores special gesture mapping and The Cembalo Scrivano .2 is an interactive audiovisual microtonality. The hacked chandelier hangs motion- installation based on an augmented typewriter. The Kulaktan kulağa Common Roots less, occasionally flickering its lights to entice the audience is invited to type a letter, a world, a sentence. audience to interact with it. While interacting with the machine it will be possi- When the ChandeLIA is touched, the piece illuminates ble to experience an ambiguous condition in which and a tone is ­created. Moving the chandelier in differ- symbols become shapes and sounds, transcending the Jorge del Bosque (MX), Lizzie Wilson (UK) Alessia Milo (IT) ent ways (such as swinging, spinning or holding the forces acting within the writing mechanism. This work Unspoken Word Aural Fabric instrument upside-down) cause changes to the tone, allows people to reflect on the need for new technolo- such as microtonal pitch shifts and audio effects. gies, outlining the possibility of rediscovering the past Part of a collaboration with the BBC R&D department, Aural Fabric is an interactive textile map that reveals to imagine the future. Unspoken Word is an installation that explores the one possible sonic character of the area of Greenwich, hidden codes and signals inside spoken language London, as captured during a group soundwalk. Archi- and how they can fertilize the musical composition tectural and natural elements encountered during process. The piece makes use of a smart speaker and the walk are embroidered with conductive threads demonstrates an innovative speech-to-melody com- as forms in relief. The soundwalk moments become position method used to create a novel medium of audible again when the listener touches the ­sensitive musical expression. People with both musical and areas, intimately connecting with the experiential non-musical backgrounds are invited to experience it universes of those that, on that day, crossed the path and discover their own unspoken codes. of this soundwalk.

Betül Aksu (TR) Sophie McDonald (UK) Kulaktan kulağa Common Roots Text and Iles Μαζί Kulaktan kulağa, Chinese whispers, or Arabic tele- Common Roots is a system of shared plant-watering phone is an interactive installation inviting people to between homes that promotes meeting neighbors in pass around the stories of found images. Each time a a communal garden over a cup of tea. It provides each story is selected, its message becomes garbled along plant host with a real-time visualization of the com- the way until it significantly deviates from the initial munity’s watering activities—who’s watering whose interpretation due to the inaccurate machine transla- plant—and in doing so provides a gentle presence tions of non-Indo-European languages. of the block’s inhabitants within individual private homes. It asks what novel ways we can design the cities of the future, given that people need more than simply to inhabit them. ChandeLIA Cembalo Scrivano .2 260 261 CAMPUS PROGRAM / Art & Technology Studies at School of the Art Institute of Chicago (SAIC)

GREYMAR: Igraine Grey (VE), Jonatan Martinez (MX) Disruptive Generation RED Art & Technology Studies at School of the RED is a virtual architecture that forges monumentality Art Institute of Chicago (SAIC) out of pattern distortion, building a language out of moiré, the digital “watered appearance.” Large-scale Text: Duncan Bass interference patterns are produced by the superim- The works assembled in Disruptive Generation introduced courses in Kinetics and Generative position of ruled geometries and liquid bodies. Com- question the role of technology in constructing Systems. Since its inception, the program has contin- puter graphics warp metric relationships, intensifying and mediating our experience of reality, addressing ually pioneered the use of emerging technologies in diffraction, interference, and image rendering. The technology’s capacity to undermine or transcend its contemporary art, developing new models of artistic project presents an interrupted architectural con­ structural frame. Each project highlights the relation- practice and integrating these models into the cur- struction that bridges virtual reality and installation. ship between archetype and prototype, disrupting riculum of one of the world’s most influential art and the cultural and computational systems that circum- design schools. Today ATS offers courses in a wide scribe lived experience in order to render space for range of disciplines including Programming, Light, Santiago X, Hacha’maori / Koasati, Guam (US) alternative­ futures. Disruptive Generation showcases Electronics & Kinetics, Audio, Virtual & Augmented Aticintoloca (Man and The Black Snake) work by five recent graduates of the Art & Technology Reality, Games, Bio Art, and History & Theory. Studies department at the School of the Art Institute of Created by a 21st Century Indigenous Mound-builder, Art & Technology Studies department, School of the Art Chicago (SAIC): Ziv Ze’ev Cohen, GREYMAR (Igraine using the artist’s ancestral earth as the palette, Institute of Chicago Grey + Jonatan Martinez), Changyeob (C.Y.) Ok, this experience contemplates the threshold of bal- Featured Artists: Ziv Ze’ev Cohen, GREYMAR (Igraine Grey + ance within our humanity and the perpetuity of our ­Santiago X, and Li Yao. Jonatan Martinez), Changyeob (C.Y.) Ok, Santiago X, Li Yao Unlike other disciplines that use technology at the Special Thanks: Eduardo Kac, Professor & Chair of Art & world. Our contemporary existence is implicated as we service of traditional forms, faculty and students in Technology Studies, SAIC, Anna Yu, Assistant Director of Art continue to accelerate closer to a post-human world. Art and Technology Studies (ATS) employ technology & Technology Facilities, SAIC, Arthur Kolat, Assistant Director of Graduate Admissions, SAIC, Christl Baur, Producer Exhibitions, Santiago X, SAIC Art & Technology itself as their medium. The first of its type in the Ars Electronica, Violeta Gil Martínez, Project Manager Campus Project Advisors: Eduardo Kac, SAIC, Chair Art & Technology United States, ATS was established in 1969 when SAIC Exhibitions, Ars Electronica Judd Morrissey, SAIC ART & Technology Jonathan Solomon, SAIC, Chair AIDO Thomas Kong, SAIC AIDO Coding Contributions: Christopher Baker, SAIC Art & Technology Oliver Kreylos, UC Davis

Ziv Ze’ev Cohen (IL) Remanence Remanence presents a relic of the future; a body that Changyeob (C.Y.) Ok (KR) is neither male nor female in appearance but at once The One that Shatters in the Air refers to both the histories of classical sculpture and a speculative cyborgian body of the ­electromechanical Cosmic rays are invisible, high-energy charged future. A kinetic light from within the sculpture ­particles from outer space that penetrate our bodies ­recreates the gesture of scanning a body as viewers and objects around us. Despite the fact that cosmic are caught scanning it themselves. rays go through and around us endlessly, we do not see or recognize them. In this work, light changes are triggered by a muon detector which invites the view- Li Yao (CN) ers into a ­spiritual experience of deciphering a secret message from outer space, amidst the waves of rays Bunker that constantly surround our existence. Bunker is a project realized in virtual reality. By sim- Development of muon detector: MIT ulating sceneries from fiction and reality, it offers Assembly of muon detector: Changyeob Ok an opportunity to examine the willful re-enactment of history in which we find ourselves. This is history experienced, the first time, as tragedy, and the second time, as farce. 262 263 CAMPUS PROGRAM / Shantou University, China

Zhang Hongxiang (CN) MELODIES FROM TEOCHEW STRINGS Interaction Design Fiction, the Three Body Problem Shantou University, China This work on the Three-Body Problem is design fiction Curator: Dr. Predrag K. Nikolic on how people will read books in the future. The proj- ect explores and suggests new interactions, supported Teochew culture or Chaoshan culture has a long history. Chinese heritage and technology. Furthermore, it is by speculative technologies capable of detecting user It originated from Chaoshan predecessors, established a speculative futuristic vision of human society, envi- behavior and emotions and performing multiple itself in the Qin and Han Dynasties, and has features ronment, and interactions offered by the Digital Media searches to find which chapter the user wants to read. such as Teochew dialect, opera, music, cuisine, arts Department at Shantou University, Cheung Kong Required content is presented in a multidimensional, and crafts, and folk customs, as well as Gongfu tea. School of Art and Design and their young students who multisensory and highly interactive manner. The way The name “Chaoshan” is a contraction of the names are part of the modern design reform of China in the we read books will never be the same—it will be more of two of its administrative areas, the prefecture-level 21st century. Shantou University is a comprehensive interesting. cities of Chaozhou, and Shantou. The characteristics university established in 1981 with the approval of the and influences of Teochew culture are evident in the State Council. The school was supported by famous philosophies, speaking habits, and customs of Shan- patriots and internationally renowned entrepreneur tounese people. Teochew string music is the eternal Mr. Li Kashing. Currently, Shantou University is a ter- inspiration for many generations of Shantounese, tiary institution jointly established by the Ministry of Wang Xin (CN) reflecting the way they live and learn, and the ideas Education, Guangdong Province, and the Li Ka Shing and creations they have disseminated all over the Foundation. Shantou University Cheung Kong School The Digital Transformation of Chengdu Museum world for more than a thousand years. That is the rea- of Art and Design is strongly committed to providing This project uses AR technology to design a new son we named the exhibition “Melodies from Teochew professional design education that highlights creativ- museum experience. The goal was to make Chengdu Strings.” The melodies and the Teochew string instru- ity, and promoting individual creative thinking with a Museum’s content more interactive and engaging, so ment as the metaphors for the fresh ideas and novel focus on integrating Chinese culture with new world the audience could become more involved in gathering aesthetic concepts derived from the mix of native concepts. the information about cultural heritage. The project includes a conceptual design proposal for the three museum exhibitions. The solution is based on using Student Works technology to improve audio-visual elements of the exhibition in order to increase visitors’ engagement Hongsheng Gao (CN) Shuang Liang (CN) and immersion. Armorment VR Werewolf This project is interrogative design research into the The project VR Werewolf presents the vision of future trend of online social network service platforms and a mobile gaming. It is a future where the gaming expe- Zhou Pu Fang (CN) proposal for speculative interactions which could provide rience could be part of every moment and any place The Future of Unattended Retail Shops a novel context of communication in the future. The pri- in our usual daily routine. Suggested technology is mary interface types used in the proposal are mobile and mix-reality (augmented and virtual reality). Interac- The project is focused on exploring new opportunities augmented reality. Prior to proposing a design, extensive tions are relocated into the physical environment and and offering design speculation for BingoBox unat- critical thinking and research take place regarding user stick to the user’s body (palm of the hand) to maxi- tended retail shops and how to enrich the future cus- needs, existing social media platforms and technology. mize user immersion and embodiment. tomer experience. The proposed fictional system is These will be reflected in its final form. focused on the use of intelligent agents, data visual- ization, and behavioral-pattern recognition. Particular attention is given to the extensive use of self-service convenient shop space to display relevant information and redefine user interactions and engagement.

264 265 CAMPUS PROGRAM / University of Art and Design Linz, Visual Communication Research Works Predrag K. Nikolic (RS) Predrag K. Nikolic (RS) Art of AI Sense, Robot-­Robot Design for Social Innovation—­ Log. Files. Stories from the Internet Interactions—Syntropic Counter- Interactive Installation of Things points: Robosophy Philosophy Before and Beyond University of Art and Design Linz, Visual Communication Coordinators: Univ. Prof. Tina Frank (AT), Ass.Prof. DI (FH) Marianne Pührerfellner (AT), Barbara von Rechbach, MA (AT), Mag. David Lechner (AT)

Imagine this is the year 2030. The Internet of Things possible connections with privacy, transparency and is in full swing and our world has developed into diver- participation. Each individual project provides a lens to gent social groups. examine the social, ethical, and aesthetic implications In a two-week workshop, students considered every- of the interdependence of society and technology in day future situations in which networked devices take the future era of connected things. The project is a action, depending on different scenarios about data showcase of connected objects in different scenar- The artwork Robosophy Philosophy is part of the project Interactive Installation Before (our existence) & control and ownership. We wanted to know how the ios, dealing with possible, preferable and undesirable Syntropic Counterpoints which has been conceptual- Beyond (our perception) is a multi-sensory interac- devices communicate with their users in order to make futures. The projects investigate the hidden values and ized in the form of series of discussions between arti- tive metaphorical voyage inspired by String Theory- decisions of an action comprehensible and to reveal needs of artefacts and propose an alternative visual ficial intelligence clones, related to topics we want to and socio-emotional relationship development across the hidden lives of IoT black boxes. The log files reveal narration. expose to AI interpretation. We confronted philosophi- the distance between human bodies. The intention cal standpoints between Aristotle (Magnanimous) and is to provoke instant reactions from the participants Nietzsche (Übermensch) and used their cyber clones in terms of social behavior and new types of sensory to run debates on various topics. The project and and socio-bodily interactions, which affects users’ research are presented at the SIGGRAPH Asia 2017 and collaboration and experience. The research is SIGGRAPH 2018. presented at the Smart City 360 Conference 2016. Marco Langguth (DE), Eva-Maria Schitter (AT) Barbara Oppelt (AT), Sophia Wäger (AT) Yang Hua (CN) Predrag K. Nikolic (RS) SAFETYLOG HEALTH SCAN 8.0 Interactive Cities—Inter- Design for Behavioural The installation Safetylog visualizes the epicenter of We welcome anyone who is not a threat to us. In order active Wall Projection The Change—Interactive a safety dome scenario, where vast amounts of dig- to protect the values of our natural world, a body ital data are detected, collected and converted into scan must be carried out before entering our country. Light and Shade of Realm Installation Innerbody analogue, action-orientated information messages. HEALTH SCAN 8.0 analyzes the mental and physical We have chosen a scenario with a small but skillful health of the prospective visitor. If there are too many intruder: robotic locusts. negative results, they cannot enter our world.

The Light and Shade of Realm is a vertical projection Innerbody is the interactive installation where visitors interaction work about light and shadow. Graphics are invited to interact with the human-heart shaped combined with sound presentation are projected on interface and take a fake medical examination. The the facade of the building, passing through the shad- visitors experience stressful multisensory environ- ows and forming an urban interaction scene. With ments and life-threatening diagnosis as antecedents seven flowing colors, such as sunrise and sunset, of death anxiety to provoke positive consequences

time transformation, and the sound of four seasons, such as enhanced life meaning. The research outcomes Viskom it shows the infinite charm of life.The work has been related to use of multisensory interfaces to change SAFETYLOG HEALTH SCAN 8.0 exhibited at the gallery of the Museum of Dusseldorf user behavior have been accepted for publication in K20 Museum. The Leonardo Journal. 266 267 CAMPUS PROGRAM / University of Art and Design Linz, Visual Communication

splace magazine University of Art and Design Linz, Visual Communication Univ.Prof. Tina Frank (AT), Ass.Prof. DI (FH) Marianne Pührerfellner (AT), Sabine Kienzer (AT), splace magazine is made by lecturers and students of the Kunstuniversität Linz

With splace magazine, the Kunstuniversität Linz setting of the white \ splace gallery gives the young presents a digital multi-format publication for inter- artists space for a permanent exhibition that can active art encounters in space, word and image with be visited any time, from anywhere, and that com- THE BED CARE RING text contributions by teachers and artistic works by municates contemporaneity in multimedia form. All students. ­projects are related to the thematic focus of the partic- The bilingual magazine takes a position in the current ular issue and show artists who express an individual discourse on art, culture and society and documents aspect of the relevant phenomena in their medium. the current art scene and the artistic vitality of this www.splace-magazine.at educational institution. As a presentation platform Visual Communication / Kunstuniversität Linz and art mediation format, splace magazine focuses In cooperation with Department of Telecooperation/Johannes on the passion of its artists and authors. The timeless Kepler University Linz

MOODIE THE TOKEN

Maria Fröhlich (AT), Theresa Korherr (AT), Ana Dumitrache (RO), Anna Eickhoff (DE), Teresa Schuh (AT), Sonja Thoms (DE) Martina Jäger (AT), Hana Oprešnik (AT), THE BED Annette Valcic (AT) In our world where technology is accessible in abun- CARE RING dance for everyone, economy and politics are being Care Ring is a conceptual exploration of healthcare in driven by individual customer choices. Every object the future: A ring, unique to its wearer, gathers not turns into an intelligent assistant for your daily needs only information like blood pressure, body tempera- and wishes. Even your bed collects, processes and ture and more, but also becomes the direct connection transmits your personal data for the best possible between the customer and their healthcare provider. support. It communicates with other objects, orga- Data is always stored locally on Care Ring, until the

nizes your bedtime routine and even makes decisions moment the user gives permission to transfer infor- Frank Tina #4: Issue magazine splace Time, Tina Frank © for you. mation to medical personnel.

Enikö Gál (HU), Daniela Poschauko (AT), Marjan Moradhasel (IR), Daniel Huber (AT), Julia Singer (AT) Lisa-Marie Witting (AT) MOODIE THE TOKEN

MOODIE gives its wearer ultimate support in every sit- In a world where 1 % of the population holds all the uation by constantly changing its material qualities power, we introduce a device which is apparently part based on interpretations of collected data. Its surface of consumer choice but allows total control of the and interlining layers change their physical and tangi- people. The Token not only categorizes and ranks its ble qualities according to the user’s needs, based on human user, it is the only authorized method of pay- data measured on the body, skin and outside parame- ment and identification. Rating and saving everything ters like temperature and air quality. MOODIE pursues you encounter, it tells you what to buy, what to eat the perfect comfort for your body, as a ready-to-wear and where to go, making individual choice obsolete. fashion statement. splace magazine Issue #4: Issue magazine splace Time, Micha Gerersdorfer ©

268 269 CAMPUS PROGRAM / New Design University St. Pölten

Nora Reiter (AT), Andrea Sommerauer (AT) Silver Drop A tool for sending messages to space, as a time Design Fiction ­capsule with images and emotions from earth. Extraterrestrial life will experience information New Design University differently and can see and hear with tactile senses. Our project investigates the messages people St. Pölten, Graphic- would send from earth, representing human life and Information Design on our planet with images and feelings #silverdrop #silverdropmessages. Professor: Barbara von Rechbach

Design Fiction is critical speculation about dif- Alexander Jestl (AT) ferent possible and preferable futures in media design using methodologies of science-fiction Blister prototyping and design research. Speculative design in pharmaceuticals is used in an Students are examining possible scenarios for investigation about packaging waste and overpro- developing interfaces in a near future. They work duction of medicines. Three different visions pres- Blister within story laboratories investigating the “arche- ent a plausible, a purely fictional and a preferable ology of the present” (William Gibson), testing near-future approach: 3-D printing, green utopias utopian and anti-utopian settings. and smart home systems are sources of inspiration. Which future is possible, which probable, and The exhibition object, a blister that disturbs the what can we actually imagine and visualize? familiar image through deviant forms, becomes a Design is an expression and representation of symbol of new visions of healthcare futures. its users’ inherent hopes, projections and fears – Design Fiction as design method allows us to detect the hidden issues in media objects and their different usages. Marina Dragicevic (AT), Doris Sutrich (AT) Kungfufi Kungfufi is a dystopian design project about a pro- tection system for a safer world. It provides different Silver Drop Kungfufi ways to protect and save humans, and plays with the concept of fear and victimization in society. Every human is attached to a choker device around their necks—they are being monitored 24/7, their whole life. Is the person next to you a criminal—or just a stranger? And who is in control of the classification and algorithms?

270 271 ERROR ARS the Art of Imperfection ELECTRONICA ANIMATION ARS ELECTRONICA ANIMATIONHEADLINE

Ars Electronica ANIMATION FESTIVAL 2018

220 works selected from among this year’s 1,007 submissions to the Prix Ars Electronica’s Computer Animation category constitute the lineup of the 2018 Ars Electronica Animation Festival. Even before the jury convened in April for three days of deliberations, the Animation Festival’s curators, Jürgen Hagler and Christine Schöpf, screened the entries and noted their favorites. The 350 works that made it past this first cut were then put online for evaluation by jurors Gaëlle Denis, Alex Verhaest, Pokras Lampas, Casey Reas and Jonathan Yomayuza. Then, in April, the remaining 220 shortlisted works were presented to the jury for their final decisions. And these 220 films also formed the basis for the programming of this year’s Ars Electronica Animation Festival. These 10 programs provide a representative overview of what’s happening now in the digital motion picture genre worldwide; at the same time, each individual lineup manifests specific strategies and unique points of view. Many of the works being shown have long since taken leave of the picture screen. Substantial price reductions in recent years have made VR hardware much more affordable and thus an increasingly viable option for artistic work. As a result, audience interaction with audiovisual experiences constitutes a new challenge in its own right. Jumbo-format mappings on buildings and landscapes as well as in a museum context and installations are exam- ples of expanded animation that transcend the confines of the picture screen. Of course, a large proportion of the works of this year’s program are once again short films—both narrative and experimental-abstract works, produced by individuals or entire crews. The spectrum of techniques ranges from stop-motion to 100% computerization. The program is being supplemented by a Young Animation lineup featuring films from the Prix Ars Electronica’s u19 — CREATE YOUR WORLD category for young people under 19 years of age in Austria, the Japan Media Arts Festival, ISCA—the International Students Creative Award, Digital Media Hagenberg Campus, Filmakademie’s Animationsinstitut, Animafest Zagreb and Best of Austrian Animation 2011—2017. The 2018 Ars Electronica Animation Festival is a highly diversified showcase that invites spectators to take a fascinating ‘round-the-world journey through current digital filmmaking.

489 Years, Hayoun Kwon (KR) 274 275 ARS ELECTRONICA ANIMATION

IN PERSONA: Boris Labbé Expanded Animation Born in 1987 in Lannemezan, France, Boris Labbé is an This is an overview of new pathways that digital film- artist and animation film director working between makers are exploring and setting out on—mappings on France and Spain. His art comes through several forms: a natural landscape and on the human body, “an ode short films, audiovisual concerts and video installa- to the rhythm of being,” robotic installations, kinetic tions. He has collaborated with Sacrebleu Productions works, media façades and VR projects. since 2013. His short film Rhizome won the Golden Nica Animation at Prix Ars Electronica in 2016 and his last project The Fall was selected in special screenings at the 57th Semaine de la Critique, Cannes Festival. The retrospective screening will present the last four La Chute, Boris Labbé (FR) display(bias), Ryo Kishi (JP) animated projects directed by Boris Labbé, all made during the last four years.

IN PERSONA: ZEITGUISED / Experimental

foam Studio Man’s fall from grace rendered in impressive images ZEITGUISED is an award-winning studio established that allude to works by Hieronymus Bosch and Fran- in 2001 by Jamie Raap and Henrik Mauler that pro- cisco Goya; a sci-fi video illustrating a post-apocalyptic duces exquisite realities, at the intersection where multiverse; emotions contravening the laws of nature; art and design meet digital and physical space. Their the symbiotic relationship nematodes (roundworms) work has been presented in numerous international form with Wolbachia bacteria—Experimental brings New Media art fairs and festivals like Oberhausen, together highly divergent points of view. Ars Electronica, Onedotzero, Dotmov, Nemo, ITFS and Resfest. Selected work has been shown in galleries and AUTO NOM, Zeitguised / foam Studio (DE) art shows around the world, most notably Volta Art Fest, Nikita Diakur (DE) Fair New York and the Museum of Contemporary Art in Barcelona. foam Studio is the commercial service mode of ZEITGUISED.

Electronic Theatre Micro Macro This is the Ars Electronica Animation Festival’s annual A visual and conceptual connection between the best-of program—a compilation of the 13 outstanding macroscopic brain and the microscopic behavior of works chosen by the jury from among the 1,007 animated neurons envisioned with data, drawings and various films submitted this year for Prix Ars Electronica prize other techniques; the complexity of the world of consideration. At the same time, Electronic Theatre quanta, the observation of the world as it doesn’t is a showcase of the latest trends in an artistic-sub- exist; a journey to distant horizons of our cosmos; or, stantive sense and with respect to technology and simply, the story of an ant—these are some illustrative innovation. examples of Micro Macro.

Quantum Fluctuations, Markos Kay (CY/UK) Overrun, Jérémie Cottard, Antonin Derory, Matthieu Druaud, Pierre Ropars, Diane Thirault, Adrien Zumbihl (FR)

276 277 ARS ELECTRONICA ANIMATION

Music & Visuals Mental States This isn’t just a showcase of classic music videos; it’s a A group seated at a table in a pub is chatting and drink- compilation of various approaches to bringing together ing beer, when one of them begins analyzing his emo- sound and visuals—for instance, an immersive 360° VR tions. A father recalls a missed chance to talk with his array or software programs that translate music into daughter; a brief meeting years later makes all words visuals. But the music video genre doesn’t get short meaningless. A path leads through a sunken labyrinth shrift either! of memories and dreams. These are examples of men- tal states.

Hardcore Anal Hydrogen, Jean Pierre, Martyn Clement, In Other Words, Tal Kantor (IL) Sacha Vanony (FR)

Narration Statement Storytelling in the classical sense is a form of depic- The demilitarized zone between North & South Korea tion. Digital narration goes beyond this definition. as VR work, a computer game featuring Merkel and These condensed-associative accounts get across in Schulz as the chief protagonists, Brexit in the UK, images what can hardly be expressed in words. Many and a female soldier’s battle against slavery—as this of the works in this program are personal stories and program amply illustrates, more and more digital recollections. activists are addressing political issues.

The Box, Dušan Kastelic, Mateja Starič (SI) Adam Episodes, Neill Blomkamp (CA/ZA)

Female Worlds Young Animations This program shows female worlds from a variety of Gifted young filmmakers annually submit their witty, perspectives. An 8-year-old Turkish girl looks back at off-beat, subtle, tragic and dead-serious works her happy past; meanwhile, yawning abysses emerge. for prize consideration to the Prix Ars Electronica’s Amidst her everyday routine, a woman discovers u19 — CREATE YOUR WORLD category (AT), bugnplay. something unexpected in her house. A young woman ch (CH), mb21 (DE) and C3<19 (HU). The greatest hits who’s home alone wants to spoil herself a little bit, are featured in Young Animations. but that doesn’t quite go according to plan. And plastic surgery is another one of this program’s topics.

Caterpillarplasty, David Barlow-Krelina (CA) Figura lmmagina, Viktoria Hörndler (AT)

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Digital Media, Hagenberg ISCA (The International Jürgen Hagler (AT) Campus Students Creative Award) Expanded Animation 2018 A deer and a hunter are trapped in a surreal clock- The International Students Creative Award (ISCA) is an INTERFACES IN MOTION work, a woman gets lost in a roundabout, and a gorilla international arts and information media competition eavesdrops on the conversation of two meerkats. for university, graduate school, and vocational school The 6th Expanded Animation symposium carries on a environment the traces of movements left behind in This program features a selection of recent student students from Japan and other countries worldwide. process launched in 2013—mapping the wide-ranging a physical space. Volker Helzle will offer insights into works, ranging from narrative shorts to experimen- It is staged under the aegis of the Knowledge Capital domain of animated imagery beyond the well-trodden the latest research in virtual production, a complex tal animations, from the Digital Media Department Association. paths. The symposium stays the course that was set field of postproduction in which the real and the virtual at the University of Applied Sciences Upper Austria at its inception, and presents theoretical positions and increasingly merge. Gerhard Funk’s presentation will in Hagenberg. perspectives from the art world, the R&D field and showcase interactive works subsumed under the title the industrial sector. The mission: To function as a Cooperative Aesthetics that were developed for Deep driving force advancing an interdisciplinary discourse. Space 8K, and show how their audience’s collective Animationsinstitut This year’s symposium is an inquiry into future inter- movements can generate an animated world of imag- Japan Media Arts Festival of the Film Academy faces in animation. Interfaces in Motion will focus ery. Artistic experiments in the field of stereoscopic on animation technology at the manifold interfaces animation—from 3-D noise to binocular rivalry—will 2018 Baden-Württemberg where humans, computers and interaction meet. The be the subject of Rainer Kohlberger’s presentation. emergence in recent years of affordable technolo- Chunning (Maggie) Guo’s talk is entitled Re-evolu- The Japan Media Arts Festival honors outstanding Students at the Animation Institute can develop their gies—e.g. in the areas of virtual production and mixed tion as the Interface in Generative Animation. In The work in a wide variety of media in four categories: art, own personal style, which then serves as a basis for reality—create openings for new forms of interaction Dematerialization of Animation, Birgitta Hosea will entertainment, animation and manga. This program the implementation of innovative ideas. This screen- with moving pictures. Tools and digital devices such discuss works by artists in the expanded cinema move- consists of 11 excellent animated films singled out for ing showcases the tremendous diversity of student as head-mounted displays and mixed-reality glasses ment. Then Sophie Mopps reports on VR applications recognition by the 2018 Japan Media Arts Festival. projects—including 2-D and 3-D animation and VFX. increasingly call into question conventional workflows in medicine as well as artistic interventions in this and forms of presentation. How will future animated field. Rounding out the symposium will be making-of films and hybrid forms consisting of filmed sequences presentations about prize-winning and well-received and digital content be produced with and for these new works in the field of applied art. Broken Rules, an technologies? How will these interfaces change the Austrian indie game studio, will give a speech about way digital motion pictures are presented and received, the emotional design of the prizewinning computer and what role does the audience play in this? This game Old Man’s Journey. Talks by Melt and FIELD.io, symposium is an effort to come up with answers and two design studios doing interdisciplinary work, and present approaches from the art world, the R&D field the ZEITGUISED / foam animation studio will offer and the industrial sector. Kicking off the symposium is insights into the creative process—from VR experi- the Prix Forum, in which honorees in the 2018 Prix Ars ences to large-format audiovisual projections. Plus, Electronica’s Computer Animation category present many of the presented works will be shown in the Ars their prizewinning works and discuss current trends. Electronica Animation Screening and in VRLab and This will be followed by several panel discussions cov- Deep Space 8K at the Ars Electronica Center. ering various aspects of “Interfaces in Motion” with Iruh, Niko Frenkenberger (AT), Alexander Gassner (AT), SHARK, Yuri Saito (JP) Participation in the symposium is free of charge for all registered Moritz Rührlinger (AT) artists, scientists, software developers and studios participants and holders of a 2018 Ars Electronica Festival Pass. working in the fields of gaming, media design and ani- To register and obtain additional information, go to www. expandedanimation.com. mation. The Lacuna Shifts, the latest VR application Speakers at the 2018 Expanded Animation symposium: by the artist duo named DEPART, addresses the zone 2018 Prix Ars Electronica winners in the Computer Animation where the real world adjoins the virtual one. Right at category: Broken Rules—Felix Bohatsch (AT), DEPART—Leonhard the outset of this first-person experience, those par- Lass & Gregor Ladenhauf (AT), FIELD.io—Vera-Maria Glahn (DE), Gerhard Funk (AT), Chunning (Maggie) Guo (CN), Volker Helzle taking of a VR environment find themselves amidst (DE), Birgitta Hosea (UK), Rainer Kohlberger (AT), Melt—Kamila a mirror-image of the real, outside world, and set off Staszczyszyn & Kuba Matyka (PL), Sophie Mobbs (UK), James on a personalized journey inspired by Lewis Carroll’s Paterson (CA), Hannes Rall (SG), ZEITGUISED / foam Studio— Alice in Wonderland. Hannes Rall will elaborate on Henrik Mauler (DE). Organization: Expanded Animation is produced jointly by the a current research project that illustrates how con- Upper Austria University of Applied Sciences’ Hagenberg Cam- ventional animated productions can be expanded by pus, the Ars Electronica Festival and Central Linz, and organized Negative Space, Max Porter (FR), Ru Kuwahata (JP) Digital Actor_Albert Einstein, Leszek Plichta (DE) AVR technology. James Paterson presents Norman, by Jeremiah Diephuis, Jürgen Hagler, Michael Lankes, Alexander Wilhelm / Upper Austria University of Applied Sciences’ Hagenberg animation software that received a 2018 Honorary Campus / Department of Digital Media. Mention for making it possible to bring to life in a VR http://www.expandedanimation.com, http://www.fh-ooe.at

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u19 — CREATE YOUR WORLD CREATE Future Festival of the Next Generation 2018 LEARNING

This year’s festival theme, Error — The Art of Imper- YOUR fection, epitomizes the ideas and principles of an initiative launched in 2011. Ever since its inception, u19 — CREATE YOUR WORLD has invited young peo- ple to experiment, to discover new things, and to YInMn-Blue, a pigment with very special

only recently, the unexpected side-effect try out alternative teaching/learning models. Each technical properties, was discovered WORLD! year, the festival makes a concerted effort to create of an error in a scientific experiment. a gemütliche atmosphere that provides a nurturing setting for these learning processes. And making mistakes isn’t just an unfortunate side-effect; it’s an FESTIVAL eminently important element of this. Without errors, there would be no subjective realization; all that would

remain would be external inputs gradually leading to (r, g, b): (45.82, 79.92, 143.51) 2018 a state of overload. And think about it—isn’t that actually what we’re Crystal System: Hexagonal increasingly confronted with in a seemingly perfected world? Knowledge acquisition is now only a matter of seconds, and thus unfortunately makes less and less of an impression on us. The fact that accurate and true information is available everywhere, all the time is not only a positive development; it suddenly YIn1−xMnxO3 leads to people increasingly calling information into question or, conversely, completely ceasing to question things. And the upshot of this is that our own opinions

recede more and more into the background. One no Posch Ronald longer dares to pose the question: Could that possibly be wrong? What’s my opinion on this? angle, dealing with errors is a social process of extra­ (c, m, y, k): (68.07, 44.31, 0, 43.72) This evokes insecurity. There arises a sense of distrust ordinarily great importance. In social relationships Crystal Symmetry: P63cm towards newly developed technologies. They aren’t too—for instance, in families and school systems— regarded only as enriching; they might also be seen failing and successfully dealing with it is a learning (h, s, v): (219.06°, 68.07%, 56.28%) as impediments to personal growth. Seen from this process. Doesn’t that take us back to where we began?

Unit Cell: a = 6.24 Å; c = 12.05 Å

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Error as Chance Collective Smart TV 2018 Youth Exchange Project 2 + 2 = 5. This is definitely wrong, isn’t it? Get acquainted on the fly and then immediately get Nevertheless, defining errors in our life is a tricky busy collaborating on a project that has to be com- undertaking. Lots of bright minds have been forced to pleted within five days — the annual Youth Exchange concede that differentiating between right and wrong Project has become a mainstay and a highlight of is a tough nut to crack. Ultimately, we decide for our- u19 — CREATE YOUR WORLD. selves where to draw the dividing line between these This year’s youth exchange project is entitled Collec- two opposites. It’s said that what we actually learn tive Smart TV. The idea is to question the formats are life skills — that is, ways to enrich our existence and limits of traditional, old-fashioned TV by bringing and make it as productive as possible — and also to together different ways of sharing video content and develop new things from it, to invent, and to discover filming, editing, directing, coding, and — most impor- new technologies. tantly — storytelling! Rauscher Remo The festival is a good base for this project because of merge together our own hub of Collective Smart TV. all the spectacular events happening there. It’s easy to The recording will be done primarily by smartphones— find something worth showing and explaining. let’s see where that leads us… The goal for the five days is to develop an individual TRIAL and ERROR way of sharing stories by collecting existing concepts and finding fresh ideas. Along the way we will try and c3 (HU), mb21 (DE), bug’n’play (CH), artTechLab (NL), Maybe what’s now called for is more childlike curiosity use different video formats, tools and channels to u19 — CREATE YOUR WORLD (AT) to characterize these processes of exploring and learn- ing, and perhaps a bit less adult “reasonableness”? How do we deal with these newly developed tech- nologies? How can we gain experience with things repeatedly becoming too much for us to manage? By The Error City Lab—We’re Building the City of the Future permitting errors. Cities don’t just sprout up. And rarely do they develop That way, we can ascertain whether the course we’ve according to plan. That’s simply because we’re human embarked on is the right one for us. This enables us beings with ideas and needs of our own. That makes to reflect and possibly even to question decisions. And cities lively and gives us opportunities to co-determine isn’t that precisely what many educational institutions our habitat. Meanwhile, we’re now surrounded by new call upon students to do? Question authority, be auda- technologies like drones, self-driving vehicles, auto- cious, disobey! matic surveillance systems and other digital develop- The u19 — CREATE YOUR WORLD learning platform ments that will shape our image of the village and the doesn’t just tolerate these errors; it positively encour- city in the future. Here and there, now and then, we’ll ages making them! So, in that spirit, this year’s watch- encounter errors because our needs change, things words are: Try out new things; make discoveries; invent simply aren’t expedient, or we just need space.

the future; and, by all means, make mistakes! Posch Ronald Error City is a growing community. Visitors can develop it on an ongoing basis, electrify and digitize it. This is a place where drones deliver packages and autonomous garbage robots keep the streets clean. Error City isn’t Configure the Future … and Don’t Mind the Rough Edges! just a conceptual model; it’s built of cartons and can be modified at will by the developers. The cityscape can This year’s CREATE YOUR WORLD Festival invites Impressions, ideas and projects from throughout the be navigated by means of 360° cameras and robots; festivalgoers to experiment and get hands-on expe- world are arrayed here for your consideration. For five afterwards, urban denizens can experience these trips rience. Be among the first to see the unusual, inno- days, you can discover the future and have a say about along with the feeling of being right in the middle of vative, and very off-beat attractions in a fascinating how it turns out. This is the perfect spot for tinkerers, the action. lineup of open labs and exhibitions in POSTCITY Linz. lateral thinkers and anyone who is thirsty for insights!

Martin Hollinetz Otelo (AT)

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food culture experiments Blinking Rocket

Exploration space @ ACDH-ÖAW focuses on experi- Eveline Wandl-Vogt (AT), Kim Albrecht (US/DE), Matthew Here, we’ll construct an electronic switch with a blink- mentation and open innovation. Set within the liquid, Battles (US), Penesta Dika (AT), Nikhil Krishna Dharmaraj (US), ing 8x8 LED matrix and give it a cool rocket design. The Amelie Dorn (AT), Keith Hartwig (US), Sarah Newman (US), Enric participatory concept of the post-dictionary, various Senabre Hidalgo (ES), Barbara Piringer (AT), Jose Luis Preza Blinking Rocket’s texts and animation sequences can interactions and experiments, both digital and virtual, Diaz (AT), Thomas Palfinger (AT), Tuuli Maria Utriainen (CH), in be modified via smartphone, tablet or laptop without are offered. Artists, practitioners and scientists aim to collaboration with Community Cooking (AT), Sprungbrett (AT), having to install software. co-design and take the participants on a shared jour- Topothek (AT) and Wiener Tafel (AT) The Blinking Rocket project is 100% open source and ney into intimate dimensions of food as part of Euro- enables users to explore many different aspects of pean cultural heritage as well as European blended the STEAM fields—from modern, Web-based software culture, touching all senses by various experiences. and firmware development to hardware design and production.

Florian Bittner (AT)

Jugend Hackt ZONE

Jugend Hackt (Youth Hacks) displays real-world ways and means of dealing with errors. In conjunction with this year’s “Error” theme, Jugend Hackt is a setting in which young people, age 8-18, are cordially invited to consider the errors inherent in society and to make mistakes of their own. True to the motto “Improving the world with code,” we’ll offer lots of interesting ways to encounter technology, all of them associated with the same question: What STARTS OPENLAB: Magic Shifter society-changing potential is inherent in the technology and in your heads?

Magic Shifter is an open source magic flashlight. Havlik Daniel In this open lab, participants can build, solder, tinker With 16 RGB LEDs, it can be used to write texts and with and program robots, explore across the technol- draw images in midair. This takes advantage of the ogy spectrum, and try out all sorts of devices and apps. “persistence of vision” phenomenon, whereby a rapid The point of departure: “An error is a discrepancy from sequence of light impulses is seen as a whole picture. what we expect, a deviation from the norm …, but An acceleration sensor stabilizes the image. It’s also what is the norm and who establishes it?” Accord- possible to program colored shadow effects. ingly, we’ll be shedding light on festivalgoers’ views of the world and calling social norms into question. This Philipp Tiefenbacher (AT), Jay Vaughan (AUS), Tom Peak (AT), Jascha Ehrenreich (AT), Philipp Poten (AT), Florian Bittner (AT) works best with prototypes that can be artistically, creatively deployed—with or without technology.

Sandra Schink Sandra Jugend Hackt (DE), Hello World (AT)

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Do it yourSelfie VERNER—Versatile Nature Exploration Rover

Glitch, selfie, hacking, error? Students in Linz lots more. Participants will explore the possibilities VERNER consists of a handmade carbon-fiber ­chassis, all components live while the vehicle is on the go. Art University’s­ Graphic Education program and of hacking an SLR camera, and create analog add-ons six wheels and four motors. It’s controlled by a credit-­ Users can try out many of these features for them- ­festivalgoers play with analog and digital approaches for their own cell phone’s camera. Then they can take -card-size processor with wireless connectivity that selves during the demonstration. to photography in a domain bounded by self-portrayal home the selfie shot with them either in digital form permits two-way exchange of data on engine work- and image interference. Instead of deploying prefab or as a photographic printout. load, sensors and wheel position. Its one-of-a-kind Simone Atzwanger (AT), Max Heisinger (AT), Max Hofinger (AT), digital filters, analog disruptions of digital images will programming interface makes it possible to reprogram Markus Pirngruber (AT), Florian Rudinger (AT) Students in Linz Art University’s Graphic Education program be experimentally produced via colored foils, glass ele- under the direction of Maria Anna Eckerstorfer (AT) and Helene ments, mirrors, fabrics, common, everyday devices and Siebermair-Sommerer (AT) Bildnerische Erziehung, Kunstuniversität Linz Kunstuniversität Erziehung, Bildnerische HARPTech2018

FM4 Spielekammerl Live at the 2018 Ars Electronica Festival Robo Wunderkind

The ORF–Austrian Broadcasting Company’s weekly Robo Wunderkind turns building and coding real computer gaming show on radio station FM4 is a functioning robots into a child’s play by bringing ­colorful, upbeat, four-hour live stream. Since this for- together the best of the technologies and educational mat was introduced in March 2017, the game room concepts in the innovative educational robotic modular crew has done several live remote broadcasts—includ- kits. Snap colorful modules together, control and pro- ing from the 2017 Ars Electronica Festival! In line with gram them using our intuitive software—a task even a this year’s focus on errors, they’ll be playing demand- 5-year-old could easily manage. Our products provide ing games in which players have to fail miserably and holistic user experience via tactile hardware and intu- often in order to advance. Needless to say, the FM4 itive software and introduce children (and adults!) to games crew will also be welcoming festivalgoers as the basics of coding and robotics. Join Robo Wunder- studio guests. So, drop into the game room and play kind’s interactive playground to tinker, explore, exper- along! iment and create with friendly technologies. Open for visitors from 5 to 99 years old, that’s the place to try FM4 (AT) your hands at engineering and bring your most daring ideas to life. Ronald Posch Ronald

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Hebocon

A Hebocon is like a traditional Japanese sumo ­wrestling match but two low-tech robots square off in this Surface X smackdown of technical dilettantes. What’s the story In the digital world, we present ourselves in the best X appears large and impressive from a distance. The here? Two robots are pitted against one another; they possible light—#nofilter, of course. In the hopes of interactive installation is made up of 35 black umbrel- battle it out for one minute; the victor is the one that being loved, employed, liked and followed, we carefully las that form a single, spherical body 3.5 meters in shoves the other out of the ring, tips its opponent over, choose the best parts of our identity to display. By add- diameter. The umbrellas represent an impenetrable or is the more active aggressor. Here, a robot is defined ing a photo filter here and highlighting a detail there, shield, protecting the inside from unwanted looks. as anything that can move—but it can’t weigh more we constantly work on creating the perfect surface. However, once a person approaches Surface X, the than 1 kg or exceed 50x50 cm in size. The catch: the Our digital identity is flawless and impressive. Until… umbrellas immediately shy away and close within more sophisticated the built-in technology, the more someone comes closer. When we actually meet our milliseconds. It crumbles and shrinks and loses its pol- points are deducted from the robot’s score! The more Tinder date face to face. Or go to that job interview ished look. Up close, one sees less surface but more creative, the sillier, the funnier the robot is, the better we got invited to. Surface X captures the very moment of what lies behind, cables, sensors and a steel frame. its chances of prevailing—and especially garnering an when our digital and our physical identities collide and It is left to the approaching person to judge: Does it Audience Award. merge into the real us. look ugly or broken? Or rather interesting, maybe even At this moment, it becomes impossible to keep the beautiful? perfect surface intact. It cracks and folds and our true self is revealed. Like our digital identity, Surface Rebecca Gischel (DE) Schmiede Hallein Schmiede Picaroon

Think Your Product

Leonding Technical School’s Think Your Product initiative teaches 4th year students entrepreneurial thinking and creativity in coming up with product ideas and starting up a new company as a first step on a potential career path. Students are offered several motivational and informational events over the course of the year. Think Your Product works together very closely with Upper Austria’s Startup Network and numerous IT firms in the Linz metro area. The initiative’s highpoint is the Make Your Product Week during which the teams with the best product ideas can spend a whole week focusing on developing a prototype and, at the end of the week, present the results to a jury of experts.

Steampy Ludimus Steampy is an app, where the user can create playlists Ludimus is a mobile gaming platform for card, board across different streaming platforms. It frees users and arcade games that is revolutionizing how families from the tedious task of searching music over different play games with their kids. As a mobile solution, it streaming platforms, sorting out the high number of enables players to take their entire game collection overlapping offers in order to get the music they are with them on vacation or to their friends’ house. really looking for. David Matousch (AT), Eric Stock (AT), Elias Bürger (AT) Stefan Stanzel (AT), Karsten Köhne (AT), Andreas Leeb (AT)

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(NO) GREAT FUTURE MUSIC EDUCATION DAY

The future as a pointedly dystopian scenario—social A coalition of Austrian musical institutions and media, fake news, performance pressure and bullying ­initiatives is producing an encounter with the future necessitate putting our thinking and behavior under prospects of young Austrian musicians. This event a sort of glass dome in which we’re apparently no is an outgrowth of Music Summit, a working group longer able recognize reality any more. This “bell jar” formed at the 2017 Ars Electronica Festival; now, one has been graphically depicted in oversize format by year later, they’ve put together a program for musi- a youth group at BFI Oberösterreich (regional career cians, teachers and musicologists. The emphasis is on advancement agency). They now invite visitors to the the future of the music industry and musical training. Ars Electronica Festival to graphically enhance this Considering these two systems jointly is meant to work with the really important things in life. Maybe provide a better overview and more profound insights festivalgoers can succeed in collaborating with the BFI for musicians. Music Education Day will lay down the youth group to avert looming threats! The question is: beat and set the tone. What is actually really important in life? Mica Austria (AT), Universal Music Austria (AT), St. Pölten Uni- Following up on a 2017 pilot project, young people versity of Applied Sciences (AT), Ableton Live (DE), BORG High associated with BFI Oberösterreich have come up School Linz (AT), Rock im Dorf Festival (AT), Österreichischer with their own project, which they’ll be implementing Musikfonds AT), mdw–University of Music and Performing Arts independently at this year’s CREATE YOUR WORLD Vienna (AT), Fachinspektion für Musikerziehung und Instrumen- talmusik (AT)) Festival.

Youth Group of BFI OÖ (AT) Florian Voggeneder Florian

BUG TV

How will television as a media format develop from acknowledge news as true? How must the news be here? Could it be that, in the future, there’ll be no presented for us to put aside our ever-growing skep- regularly scheduled programming at all anymore, and ticism? What portals do we perceive as reputable and maybe it will be completely replaced by on-demand responsible? These questions are treated in a blend streaming services? In cooperation with Landestheater of acting and festival documentation produced by this Linz, this TV format will propagate a mix of fakery and interactive project set in the CREATE YOUR WORLD Tom Mesic Tom truth, where subtle and, in some cases, intentional festival village. mistakes demonstrate a very prevalent blunting of the instincts of those who view them. In which for- mats is verification inherent? At what point do we Landestheater Linz (AT), Ars Electronica Florian Voggeneder Florian 294 295 u19 — CREATE YOUR WORLD

Glitch Painter Animaker

The participants in Virtual Office at Fab Linz have Animaker is an interactive installation that breaks worked together with g.tec to develop a game about down the boundary between the virtual and phys- this year’s festival theme, Error. A g.Nautilus EEG cap ical worlds. A visitor enters a projection of a jungle and specially programmed software enable players to temple and is called upon to construct animals out of intervene in an image using only their brain waves. Duplo© bricks. The results are identified via artificial The installation these young people have come up intelligence and brought to life in a virtual environ- with deals with the subject of error on several levels: ment. Animaker is a playful way for users of all age corporeal, social and technical. People don’t always groups to get acquainted with the latest technological know exactly what they consider to be a mistake. Errors developments such as artificial intelligence and cross can be spontaneous, planned and even aesthetic!­ reality (XR). Minor glitches can be enthralling in that they allow for interpretational latitude. The Tech Museum of Innovation (US), Resonai (IL/US), OMAi (AT), Occipital (US) Bettina Gangl (Fotografie.Design), Birgit Pölz (FAB Linz Virtual Office), participants in Virtual Office at FAB Linz; in cooperation with g.tec medical engineering and Mag. Katharina Mayrhofer VVVV Programmierung Fort Thunder

Fort Thunder is a touch play synthesizer built into a play fort that generates a startling array of electronic PRZM noise as bodies inside connect the 22 stainless steel poles, and themselves, in different combinations. PRZM is an Animated MIDI Lightbox. Up to 5 people Essentially it works by replacing the knobs you would can play each PRZM instrument to generate a find on typical synthesizers with bodies, which act semi-random improvised musical jam. They use as resistors between two points of oscillating circuit robust, arcade-style buttons mounted on the sides to Tagtool Convention resulting in a fun, playful way to produce electronic trigger sound and light at the same time. Triggering a sound. This project is supported by the Australian For over 10 years now, building façades and stage sets Ars Electronica Festival. Artists from all over the world button will send pitch messages out to a MIDI com- ­Government through the Australia Council, its arts worldwide have been illuminated with spontaneous will present their work at the Tagtool installation in patible software/hardware instrument. In the current funding and advisory body. images rendered and animated live. The people who POSTCITY, and festivalgoers of all ages are invited installation, Ableton Live is being used with custom make this happen are members of the Tagtool commu- to get hands-on experience with projection painting. instruments and MIDI effects that manipulate the Lucas Abela (AU), Keg de Souza (AU) nity; what they have in common is an alternative vision Rounding out the program are a series of improvised MIDI data being generated. of digital art. They work on the street or in the theater performances, guerilla projections on and around Animated light patterns instead of in front of a computer screen, jam like jazz POSTCITY’s exterior, workshops and presentations. are displayed through the musicians, and seek new forms of visual expression. tinted black perspex top An official conclave of the international Tagtool layer. These were created ­community is being held in conjunction with the 2018 OMAi (AT) with Neo Pixel Digital RGB strips which allow for pro- grammable colors and pat- terns to be triggered via an Arduino Uno board.

Mark Towers (UK) , virtual office FAB Linz FAB , virtual office Painter Glitch OMAis Animaker, Fort Thunder OMai 296 u19 — CREATE YOUR WORLD

Dabei sein ist alles Opportunities for Young People Who Enter the Prix Ars Electronica

Over 650 entries were submitted to the Prix Ars School for Communications & Media Design, was ­Electronica’s u19 category this year. This huge response commissioned by the Upper Austria Teacher Train- makes the jury’s job of picking the prizewinners a tough ing College, the Upper Austria Chamber of Labor one, but they manage nevertheless to narrow the field and Ars Electronica to carry out a project dealing down to 16 projects. Be that as it may, for several years with peer education. The results will be presented now, the u19 — CREATE YOUR WORLD staff has made at the symposium being held on September 6th a concerted effort to foster and support projects that, in conjunction with the Ars Electronica Festival. despite their high quality, didn’t quite make it to the Seraphina submitted a project entitled “Educa- Final 16. These very deserving youngsters have been tional System in Austria” to the 2018 Prix Ars invited to showcase their projects at the festival too. Electronica.­ u19 Exhibition Moreover, in recent years, the u19 — CREATE YOUR 2) Upper Austria Tourism: This is the second time WORLD initiative has sought to act as a “summer that a project having to do with the future of tour- The Prix Ars Electronica’s u19 category confronts young people with two questions: How do you envi- job placement agency” for young people, and we’re ism has been commissioned. The regional inbound sion the future, and what ideas do you have in response to what you see? Each year, we receive 600+ pleased to report that this has been a success. During tourism development agency’s aim is to integrate answers in the form of incredibly diverse projects submitted for prize consideration. From among them, negotiations with many of our clients and associates, young people into the process of designing a tour- the five-member jury selects the 16 best. This is a task that seems to get progressively harder since the we consider ways in which young people could be given ism strategy. The crew got to work together with youngsters’ projects have become more elaborate and more professional with each passing year. These 16 assignments from certain companies, which would OUTFLATS, an architecture project by three young prizewinners are then presented to festivalgoers in an extensive, curated exhibition that is the centerpiece then obtain an authentic evaluation and, at the same people in Vienna. of the CREATE YOUR WORLD festival. The prizewinners are also invited to attend a workshop at which they time, a product that the company could use for other 3) Kinderklangwolke 2018: The Kids’ Cloud of Sound is collaborate with the u19 – CREATE YOUR WORLD production crew on the design of this exhibition. On one R&D purposes. set for Sunday, September 9, 2018. Kuddelmuddel hand, this enables them to have a say in how the prizewinning projects are exhibited; on the other hand, The u19 — CREATE YOUR WORLD staff constantly Linz and u19 — CREATE YOUR WORLD are work- it lets them get acquainted with one another. The process of conceiving the exhibition brings in a variety seeks projects that are substantively suited to this ing on the artistic design and implementation of of perspectives, and repeatedly brings to light commonalities of both a substantive and a spatial nature. effort. We lined up three paid assignments this year: this open-air spectacle. Larissa Schwaiger, a young

This format for producing the festival in cooperation with creative youngsters has worked brilliantly ever HorvathKlemens and Buttons, Levers 1) Prospects for Political Education Symposium: composer from Steyr, has been commissioned to since it was launched in 2016. Seraphina Reisinger, a student at Linz’s High lead a music workshop in conjunction with it.

u19 Ceremony The highlight of the CREATE YOUR WORLD Festival is actually the u19 Ceremony at which the 16 projects singled out for recognition are publically honored in a fun, relaxed atmosphere. The event is integrated into the hustle & bustle of the festival and has become an annual favorite. Thomas Mesic Thomas Posch Ronald

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CREATE YOUR WORLD TOUR & “u19” international Conferences @ u19 — CREATE YOUR WORLD

Since 2015, we’ve offered a program of workshops at in this way makes a major impact in terms of sustain­ “Prospects for Political Education” Symposium selected schools and institutions to integrate content ability and urban development. Impudent, Courageous, Demanding—Self-Empowerment through Peer Education? and ideas from u19 — CREATE YOUR WORLD into every- In preparation for this award, a specially curated day classroom instruction. The Tour is meant to offer CREATE YOUR WORLD TOUR makes the rounds in the question or even rejected outright, traditional parties pupils and faculty members means to access alterna- country of the next year’s capital of culture. Five Work- are on the verge of dissolution, movements lacking tive learning & teaching methods and to playfully lay shop Weeks are staged with artists associated with an ideological foundation and some characterized by the foundation for new ideas and projects. u19 — CREATE YOUR WORLD, and the conclusion of a internal chaos enjoy growing popularity, and many peo- Above all, the broad spectrum of workshops fosters week features a presentation of the prizewinning works ple see authoritarian structures as solutions to social the performance of students, who are familiarized in the Prix Ars Electronica’s u19 category. This is meant challenges. But do young people see things that way with new educational alternatives that can then be to inspire young people in the land of the upcoming too? Does the younger generation have answers to integrated into everyday life in schools. Plus, the Tour European Capital of Culture to create a project of their questions that aren’t even formulated the way they features regional artists adept at passing along their own and submit it for prize consideration. would have put it? Does peer education constitute creative ideas directly to students and teachers. Teach- The managers of the European Capital of Culture pro- the key to self-empowerment that opens the door ers can take advantage of the workshops as continuing gram thereby comply with their educational mandate for young people to assuming responsibility, making Tom Mesic Tom professional education units with current content and and Ars Electronica is delighted to support them in a a commitment and a mark on society—in impudent, as a source of good ideas for new directions in class- consulting role. The exhibition of prizewinning projects courageous and demanding terms? room instruction. from “u19Malta” (Valletta 2018) will premiere at the This symposium will attempt to come up with answers Is the world coming unhinged? You would think so For the past two years, a special program has been u19 — CREATE YOUR WORLD Festival! to such questions by staging speeches as catalysts, now that atomic threat scenarios are once again part offered in cooperation with the European Capitals Bulgaria (Plovdiv, 2019 European Capital of Culture) is workshops as settings for discussions of ideas and of what we perceive on a daily basis; when we observe of Culture. In each country in which a city is serving where the CREATE YOUR WORLD TOUR’s workshops methods, and a Dialog of Disobedience as a wake-up call. the metamorphosis of conventional political systems; as the year’s capital of culture, a u19 Special Award are currently being held. The results of “u19Bulgaria” when democratic institutions—both in individual coun- is bestowed in a format that resembles the Prix and the prizewinning projects will be presented at the An event produced jointly by the Upper Austria Teacher-Training tries and multilateral arrangements—are called into College, Upper Austria Chamber of Labor and Ars Electronica Ars Electronica’s u19 category. Integrating youngsters 2019 Ars Electronica Festival.

ZusammenHelfen Conference Day of Encouragement

This is the fourth consecutive year that Zusammen- Helfen–Working Together in Upper Austria for Ref- ugees is hosting a conference for all those who are committed to and interested in helping people forced to flee, or are affected by refugees and integration. This year’s conclave entitled “Day of Encouragement”

Conrad Nicholas—musicalweatherstation Nicholas—musicalweatherstation Conrad Exhibition) (@Malta will scrutinize new prospects, discuss the latest devel- opments and challenges, and elaborate on success- ful projects. One inspiring speaker on the program is Ali Mahlodji, who’ll recount anecdotes from his life as described in his book “And what do you do? From Refugee and Dropout to International Entrepreneur.”

ZusammenHelfen—Working Together in Upper Austria for Refugees—is the go-to organization for everyone who is

committed and interested. Mesic © Tom ZusammenKommenLab, Amy Portelli, Mia Gauci—astrobot (@Malta Exhibition) Exhibition) (@Malta Mia Gauci—astrobot Portelli, Amy 300 301 ERROR GUEST the Art of Imperfection PROJECTS GUEST PROJECTS / EMAP/EMARE

EMAP (European Media Art Platform)

EMAP (European Media Art Platform) annually awards LABoral Centro de Arte y Creación Industrial (Gijón, production grants to outstanding European media art- Spain), m-cult (Helsinki, Finland) , Onassis Cultural ists and supports research, production, presentation Centre (Athens, Greece) RIXC (Riga, Latvia), WRO Art and distribution of media art in Europe and beyond. Center (Wroclaw, Poland) , lead organisation: Werkleitz Aiming to enable European artists to collaborate on Centre for Media Art (Halle, Germany). The EMAP pro- projects and create closer bonds between European gram is scheduled for the years 2017-2021 and is the media organisations, the platform was founded in 2017 largest international platform of artistic exchange and and offers grants in 11 member institutions: residency projects for media artists in Europe. Ars Electronica Center (Linz, Austria), Bandits-Mages

(Bourges, France), FACT (Foundation for Art and Cre- EMAP is co-funded by the Creative Europe Programme of the ative Technology, Liverpool, United Kingdom), IMPAKT European Union. (Utrecht, Netherlands), Kontejner (Zagreb, Croatia), http://www.emare.eu/

Robertina Šebjanič (SI), Gjino Šutić (HR) aqua_forensic Underwater Interception of Biotweaking1 in Aquatocene2

aqua_forensic illuminates the invisible anthropogenic the context of new mythologies. It’s a voyage into the pollutants in water habitats. The project has a strong microbial seas that are forming the body of waters backbone in the hands-on research that combines: all around the world. Humans do relate to water in

art, science, and a citizen-science approach to collect different ways in different cultures. With pollution Galirow Jessica and process information on pollutants—“invisible we change the oceans inside out – influencing life and monsters.” These invisible chemical pollutants (such behavior of the whole cybernetic loop of the intercon- as legal & illegal drugs—mood controllers, antibiot- nected ecosystem. socio-technological system and its (geo)political, By conducting citizen science investigation on foren- ics, antimycotics, painkillers, hormone pills etc.) are The vast complexity of the ecosystem that covers more social, economic interest in water – from the shallow sic oceanography, we are looking into hidden secrets. the residue of human consumptions discharged into than 70% of the planet, producing over 80% of the waters on the coastal lines to the deepest points in The combination of science, art and field research is underwater habitats that were explored during a resi- atmospheric oxygen, is still mysterious. We are open- the oceans. opening new doors in developing sustainable solu- dency in the summer of 2018 in two specific localities: ing discussions about aquaforming and pushing the aqua_forensic wishes to open the discussion about our tions—bringing these problems and thus development Danube river (Linz, AT) and Adriatic Sea (Dubrovnik, HR). question of “the human footprint on water” to make solidarity and empathy in understanding the oceans, closer to citizens. There are a lot of challenges but also The project goal is to make these invisible anthro- it as present as terraforming in the deep age of the seas, and rivers beyond human perception. We are potentials when working with this topic and prototyp- pogenic pollutants and the pattern of their effect in Anthropocene. using the frame of art_sci installation, workshops and ing tools for water exploration. the water habitats visible. With samplings of water Anthropogenic presence is now aquaforming every public discussions, to create new narratives in this art/ The major omnipresent invisible anthropogenic and the seabed we are “hunting for a phantom” in part of the water habitats. It is the result of our global science dialog. ­pollutants are the semi-consumed pharmaceuticals

1 Biotweaking—“acts or (art) of improving biological organisms on any level, by available means, to exhibit and use their full poten- tial,” concept coined by Gjino Šutić to fully define his work. Biotweaking mostly relies on DIY biotechnology — biohacking ­ for achieving desired goals.

2 Aquatocene - is a series of research-based artworks initiated by Robertina Šebjanič that deals with cultural, (bio)political and ecological realities of aquatic environments and their consequences / challenges.

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that stay overlooked and are changing not Anna Dumitriu (UK), Alex May (UK) just us, but also the life in fresh and saltwa- ter habitats all around the globe. The human ArchaeaBot A Post Singularity and Post Climate Change Life-form body on average is able to digest only 20% of the drugs that we consume, while the other This underwater robotic installation explores what about. Our collaborator cryo-microscopist Amanda 80% is disposed from our body to waste ”life” might mean in a post singularity, post climate Wilson is studying the structure of these archaella ­systems – ending up in world’s waters. change future. The project is based on new research to make tiny drills made of DNA which might be used This has a malignant impact on the whole about archaea (the oldest life-forms on Earth) com- to drill into cells to cure diseases, but the robotic interconnected ecosystem in an escalat- bined with the latest innovations in machine learn- archaella are made through 3-D printing. ing loop pattern. The loop is similar to the ing and artificial intelligence creating the ”ultimate” food consumption chain, which is entering a species for the end of the world as we know it. New Made in collaboration with Amanda Wilson (MARA Project, never ending circle of multiple effects on such research is revealing the mechanisms by which ancient Imperial College) and Professor Daniel Polani (University of things as the development patterns of all liv- archaea called Sulfolobus acidocaldarius can move Hertfordshire). Supported by Arts Council England and through an EMAP/ ing organisms, from the micro level (viruses, around to seek ”food” using tails known as archaella. EMARE artists residency at LABoral Centro de Arte y Creación bacteria and other microorganisms) to the The archaella use cogwheel-like ”motors” to swim Industrial in Spain via funding from Creative Europe.

Micha Gerersdorfer Micha largest organisms in the oceans. There is a question we would like to ask: How do the oceans feel our impact? Could we develop better communication with the oceans to find solutions, such as design- ing new and better therapeutics without ­negative collateral side effects?

Artists (research & development): Robertina Šebjanič (SI) and Gjino Šutić (HR) Project supported by: Ars Electronica within the EMAP/EMARE project, Projekt Atol Institute (SI), UR Institute (HR), Čistoća Dubrovnik, The Ministry of Cul- ture of the R. of Slovenia, and The Ministry of Culture of the R. of Croatia. Co-funded by the Creative Europe Programme of the European Union. Special thanks to: Martina Brković, Antonia Merčep, Veronika Liebl, Jessica Galirow, Uroš Veber, Annick Bureaud, team of nature reserve Lokrum, Eleonore team, UR Institute team Amanda Wilson Amanda

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Anna Ridler (UK) Myriad (Tulips) + Mosaic Virus Drawing historical parallels from the “tulip-mania” bitcoin price. Mosaic is the name of the virus that that swept across Netherlands/Europe in the 1630s causes the stripes in a petal which increased their to the speculation currently going on around crypto-­ desirability and helped cause the speculative prices currencies, the video work Mosaic Virus is generated by during the time. In this piece, the stripes will depend an artificial intelligence (AI). This AI has been trained on the value of bitcoin, changing over time to show on 10,000 photographs of tulips that the artist took how the market fluctuates. and then labelled to make the piece Myriad (Tulips). It then uses this information to create a tulip blooming, This project was commissioned by IMPAKT within the an updated version of a Dutch still life for the 21st framework of the EMAP/EMARE program with support of century. The appearance of the tulip is controlled by the Creative Europe Programme of the European Union.

Chloé Galibert-Laîné (FR), Kevin B. Lee (DE/US) Bottled Songs 3 & 4 The Spokesman — My Crush Was a Superstar

The Bottled Songs of Lost Children is a series of video French ISIS fighter, Abu Abdallah Guitone, through a letters investigating desire, power and terrorism in trail of messages, videos and postings to uncover his online and social media. The videos, recorded from existence in both social media and reality. This leads the researchers’ desktops, depict and interrogate their to an uncomfortable first-person exploration of the subjects’ compulsive engagement in the production gender dynamics behind ISIS recruitment strategies. of everyday myths and fictions about themselves and others. Here are presented Chapters 3 and 4. “The Spokesman” investigates the online traces of The Bottled Songs of Lost Children was conceived with the John Cantlie, a British news reporter who was kid- support of the Harun Farocki Institut, sponsored by the Goethe Institut. It was further developed at m-cult (Helsinki), supported napped and appeared in several Islamic State propa- by EMAP/EMARE, co-funded by the Creative Europe Programme ganda videos. “My Crush was a Superstar” tracks a of the European Union.

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Kentaro Kumanomido (DE/US), Thomas Anthony Owen (DE/US) faster than light faster than light (2018) is a hybrid performance-film Co-directed: Kentaro Kumanomido & Thomas Anthony Owen developed in residence at the Onassis Cultural Centre, Film participants: ActiVista / George Kounanis, Chraja, Tracy Fischer, Giorgos Kalogeropoulos, Efi Karagiannopoulou, Zak Athens, Greece, as part of European Media Art Plat- Kostopoulos, Maria Michailidou, Thomas Anthony Owen, form/Residency Exchange (EMAP/EMARE). During Khalid Prem, Evi Tsaklanou, Avraam Vrohidis the residency, the artists collaborated with a group Vogue Performance: Chraja of local activists and performers through one-on-one Lead Sound Design: Stratos Bichakis Music: Where Did I Go?: BLANKIE / Alicia Grant exchanges and improvised group encounters. These Αρχιπουστης : Chraja meetings focused on the complexities of representa- Cinematography: Nikolas Pottakis, Kentaro Kumanomido, tion, the tension between individuality and collectiv- Thomas Anthony Owen (lead camera), Zinzi Buchanan (support camera) ity, and the building of non-digital social networks. Makeup support: Anastasia Athanasiou This process was documented through a range of Translation support: Anis Alexandros El Namparaoui filmic methods including MiniDV and high-frame-rate Special thanks to: Mor Demer and Vicki Kapo slow-motion recording, then crafted into a multi-lay- Produced by: Onassis Cultural Centre, Athens Within the framework of the European Media Art Platform ered filmic journey that weaves together the artists’ (EMAP/EMARE) Karen Lancel (NL), Hermen Maat (NL) interests in ecology, gender, and quantum intelligence. Co-funded by the Creative Europe Programme of the European Union Kissing Data How does your kiss feel in E.E.G. data?

Can a kiss be translated into bio-feedback data? How co-create and co-interpret intimate BCI data, to share does your kiss feel in E.E.G. data? dialogue and reflection on ethical design concepts. In Artists’ duo and researchers Lancel/Maat critically this poetic, Multi BCI mediated social synthesis, each investigate social/sensory connections, privacy, empa- unique E.E.G. data soundscape is saved to be down- thy, vulnerability and trust when mediated by Multi loaded and appropriated by all visitors. A selection Brain Computer Interfaces (Multi BCI). of data-visualizations is printed as a “Portrait of a During internationally shown performance-installa- Shared Kiss”. tions, people are invited to experience a shared kiss, Developed and supported with partners: Mondriaan Foundation, as an intimately co-created, reflexive data-scape. Acts Baltan Laboratories Eindhoven, STEIM Amsterdam, Waag Soci- of kissing are re-orchestrated for a poetic, digital syn- ety Amsterdam ‘Hack the Brain’ Horizon 2020 research program esthetic ritual. In live kissing experiments with Multi of the European Union; Public Art Lab / Connecting Cities Net- BCI E.E.G. head-sets, visitors are invited as Kissers or work Berlin; TASML Tsinghua University Beijing. The Work was realized within the framework of the EMAP/ EMARE program at Observers. During kissing, their brainwaves are mea- the RIXC Center for New Media Culture in Riga with support of sured. Real-time, their streaming E.E.G. data encircle the Creative Europe Programme of the European Union. them in a floor projection. Simultaneously, the Observ- Research partners: TU Twente & ‘Dutch Touch Group’; University ers brain waves are measured, their neurons mirroring of Amsterdam ‘NeuroCultures Group’; University of Applied Science Vienna ‘Digital Synaesthesia Group’; Tsinghua University activity of intimate kissing movements, resonating in Beijing, Neuro-engineering department; TNO Netherlands Orga- their imagination. Both Kissers’ and Observers’ data nization for Applied Scientific Research; NWO The Netherlands intimately co-create an immersive visual, reflexive Organization for Scientific Research. data scape, translated to an algorithm for a sound- This interdisciplinary research is part of Lancel’s PhD trajectory at the TU Delft ‘Participatory Systems Initiative.’ scape—a “Kissing Data Symphony”. Sponsoring: Fourtress, Holst Center and Phillips Eindhoven;

Kiki Papadopoulou Kiki Kissing Data encourages shared agency to explore, Eagle Science Amsterdam.

310 311 GUEST PROJECTS / Chilean Artists at the Ars Electronica Festival 2018

Chilean Artists at the Ars Electronica Festival 2018 This year, for the very first time, the Ministerio de las scientists, designers, researchers, entrepreneurs and Culturas, las Artes y el Patrimonio and the Ministe- social activists from Chile or with a Chilean background rio de Relaciones Exteriores | Gobierno de Chile and to participate in this year’s Ars Electronica Festival Claudia González Godoy (CL) Ars Electronica Linz collaborated in asking artists, 2018. The Water Resistances Laboratory “Toboggans” TWRL Toboggans is a sound installation that seeks to make a connection between the natural and the synthetic, making possible different meanings for the element of water: as a physical material that generates sound, and as a substance with chemical properties that has an effect on the interaction between humans and nature. The permanent contact between water and electricity as an apparent risk plays a fundamental role in thinking through the relation between nature and artifice. This project aims to provoke thought about media and electronic devices, placing water at the center of technological development. It explores the water element as an interface that interconnects with electronic devices, generating a tension between two elements that are extremely important to life: water and electricity, where the water becomes the center of this installation, acting as a variable resistor to modify and modulate the sound of DIY synthesizers.

Name of the Work: water resistance laboratory slides Author: Claudia González Godoy Installation and assembly concept: Claudia González Godoy Sound design and hardware development: Claudia González Godoy Design and construction wooden structure: Andrés Moreno Programming: Daniel Tirado Collaboration: Rodrigo Moreno, Silvia Godoy Institutions: Plataforma Bogotá (2013) Tsonami Sound Art Festival (2016) Assembly assistants: Daniel Tirado, Andrés Moreno Photography: Courtesy of the artist

Supported by Ministerio de las Culturas, las Artes y el Patrimonio and the Ministerio de Relaciones Exteriores | Gobierno de Chile The Water Resistances Laboratory “Toboggans”

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Roy Macdonald (CL) Defective Apparatus It refuses to behave according to its original rules and insists on avoiding people. part 1.1.

This project takes the form of an interactive instal- lation driven by a laser beam which interacts with the audience by bouncing on a number of comput- er-controlled mirrors in order to avoid people. The laser beam, according to the Hollywood-esque code, works simultaneously for delimiting space and as an intrud- er-detection system. In the case of this work, this laser beam loses its original use because it “acquired a phobia towards people,” causing it to avoid people constantly. Each time someone or something blocks the beam, the system reconfigures its mirrors so the beam avoids the blocked route, generating a new space delimitation, although this route is originally chosen randomly and fed into a machine learning algorithm, so the next time it can make a better decision. It learns by “trial and error.” The whole learning phase of this work Anastasis Germanidis Anastasis happens during the show, so this relationship between human interaction, errors and learning becomes a new RunwayML — Cristóbal Valenzuela (CL) narrative layer of this work. Inaccurate Collaborations Project made during the Computational Arts residency setup by the Department of Computing at Goldsmiths, University of Tools for inaccurate human-machine collaborations London and the Victoria and Albert Museum Digital programs. Determinist algorithms and systems are based on the using Generative Adversial Networks (GAN) that have Supported by Ministerio de las Culturas, las Artes y el expectation of regular and punctual inputs to generate been trained on a collection of different image data- Patrimonio and the Ministerio de Relaciones Exteriores | consistent and systematic outputs. Glitchy, uncleaned, sets. Each generation introduces a new procedural Gobierno de Chile misleading or faulty errors in the inputs can lead to error in the algorithm. The development of this project suboptimal or erroneous results. Inaccurate Collab- will make use of RunwayML. orations is a project that explores how generative and deterministic machine-learning algorithms can be used to create faulty and erroneous results that RunwayML: https://runwayml.com/ suggest new explorations for human-machine cre- NYU ITP: https://tisch.nyu.edu/itp ative collaborations. Using an interactive digital tool Supported by Ministerio de las Culturas, las Artes y el to draw semantic colormap scenes, where each color Patrimonio and the Ministerio de Relaciones Exteriores | represents a different label, images are synthesized Gobierno de Chile

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Nani Gutiérrez (CL) Acceder Methodology for an Emergency Plan

The Tsunami earthquake catastrophe of February 27, catastrophe, the official response to the tsunami also 2010 on Chile is a political issue on a highly emotional became a political issue between right and left. The level. Over 500 people lost their lives. Right after the video is based on emergency protocols, court reports earthquake, the Pacific Tsunami Warning Center in and newspaper articles. As a guided lecture, it sums Hawaii issued a tsunami warning for the whole pacific up five hours of complex bureaucracy behind the emer- region. The Chilean authorities did not heed the warn- gency methodology. ing and no evacuation was ordered.

Acceder illustrates the communication between the Directed and animated by Nani Gutiérrez different Chilean authorities during the earthquake Production Assistant: Felix Moser and the tsunami that followed. Their decisions are Score: Hainbach affected by misunderstandings, language barriers, Supported by Ministerio de las Culturas, las Artes y el politics, machismo and the fear of committing mis- Patrimonio and the Ministerio de Relaciones Exteriores | takes. Due to a government change, a week after the Gobierno de Chile

Cristóbal Cea Sánchez (CL) Glorias In the loop

Centered around the events that surround the 21st of 2010-2016 period, the main video contrasts this foot- May in Chile, and assembled from news clips found on age with CGI reconstructions of the scenes depicted. news and social networks over the past years, Glorias The piece, started after five years of living abroad, also uses 3-D-animation methods to develop an inves- represents an exercise in trying to inhabit the space tigation of the symbolic significance of a particular between event, witness and spectator: An inconsol- event: A date when — almost ritually every year until able distance, full of misinterpretations and miscon- the death of Eduardo Lara in 2016 — the monsters of ceptions, where computer reconstruction works as a order, republicanism, protest, violence and repression medium between the subjective experience and the emerge in the city of Valparaiso. Starting with a mil- archive. itary parade, followed by protests and riots, ending Project supported by the Ministerio de las Culturas, Las Artes y with police in the streets, the 21st of May was a loop of el Patrimonio Grant of 2016. imperfections, monstrosities and unresolved conflicts Supported by Ministerio de las Culturas, las Artes y el that reflected our precarious democracy. Assembled Patrimonio and the Ministerio de Relaciones Exteriores | from archival footage corresponding roughly to the Gobierno de Chile

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Stadtwerkstatt (AT) STWST48x4 SLEEP 48 Hours Art as Sleep

With a major focus on sleep, the 4th edition of the RiP—Randomness in Past is an INFOLAB ­project 48-hour non-stop program brings together artists ­conceived and organized by Franz Xaver. With and critical producers to address an aesthetic of the ­synchronous quantum noise in Lindabrunn and Linz unconscious. Art for Sleepers, Art by Sleepers and Art (September 3-17, 2018) as Sleep. SLEEP48 is a Stadtwerkstadt project conceived by Shu Randomness and chaos as a source of creative action. Lea Cheang and Matthew Fuller, who were inspired They are used to encrypt messages in the world of by Fuller’s latest book How to Sleep, the art, biology algorithms and form the basis of free will in the analog and culture of unconsciousness. SLEEP48, 48 hours of world. Information theory, however, is pushing chance sleeping through active sensing, experiencing, doing and chaos further and further out of our daily events. and perceiving, explores the complex physiological The “logically correct” answers of the algorithms dis- phenomenon that changes over its duration and has place the unfounded decisions of individuals. However, Xaver Franz different cultural and physical expressions. Programs algorithms cannot develop utopias. include the lecture DEEP SLEEP and the exhibition Therefore, we want to counteract this development HEROES OF SLEEP. The sonic sanitarium of SONATAS with the idea of the “Global Consciousness Project” OF SLEEP/LESS offers treatments for information of Princeton University in the first two weeks of Sep- shock-workers. As a statement of non-architecture: tember and synchronize two locations via quantum SLEEP TUNNEL shows infinite sleep. SLEEP BATTLE noise generators: During STWST48x4, the STWST will be monitored by Sleep Laboratory. More: The measuring ship Eleonore in Linz and the symposium experimental setting HYPNOMACHIA, the performa- Lindabrunn, a former sculpture quarry near Vienna, will tive ROUGH SLEEP, a SPECULATIVE SCHOOL OF SLEEP be “connected” to each other via “acausal” quantum DANCE and uncanny familiar SOCIAL SLEEP VIDEOS. information. Your own sleepy experiments can be followed up with SCHLAFGUT-BIER and SLEEP FOOD. Windlines—Movement A—48 Hours Drifting—Disap- pearing (50,000) is a Quasikunst project, conceived Along with the SLEEP48 program, STWST48x4 pres- and realized by Tanja Brandmayr. ents an array of new works developed at Stadtwerk- statt under its new art contexts initiative—INFOLAB Quasikunst is systemic-performative research. Martin Howse defines the concept of information, from synchronous Depending on the project, it calls out coordinates, quantum storms to randomness in the past and block- increases and performs contradictions. In 2015 Quasi­ The Windlines asks questions about the organization network situated in a post-internet mudland and chain technology. The MYCELIUM NETWORK SOCI- kunst dedicated itself to trees with “I like Trees and of thinking and feeling, and we say: Better faded than ­powered by fungus, spores, culture, kitchen, radio, ETY gives a preview of its Patulin exhibition in Taipei Human Rights.” In 2016, it equated the actor with the networked. transmission, installations, workshops and perfor- Biennale this year, plus the Mycelial Radio Activation network in ”Fog Ballet.” In 2017, “Eisberg/The Entity” A living reference to Walter Benjamin’s angel wanders mances. Departing from the pursuits of magic mush- workshop. The art and context research QUASIKUNST staged a theater of meaning of irreconcilable contra- backwards across the square: Movement A as a trace room, MNS charts a state of hyper-hallucination to stages faded and blown away coordinates from art- dictions—and as a meltdown of a 2-ton ice block. In of memory in structured oblivion. And for a country of collective fungal consciousness, investigates the agens to body-movens. From the Stadtwerkstatt 2018, immateriality will be pushed forward. The focus drifting entities, an almost transparent flag flies for fungi culture, its network capacity to communicate archive, an indicative view applies to the PREVIOUS is on the medium wind, on air, transparency, intangibil- 48 hours on the roof - for great internal and external and process information. As an after-nature network, LAYERS of earlier Stadtwerkstatt projects. And at the ity and the increase of distance. With a wind machine spaces. The visibility of the 50,000: wanting to end. MNS commands its own domain in human-disturbed Danube shore, the REOUZERI offers an after-work or several wind machines air is blown through the All in all, Quasikunst shows blown coordinates from forests - sprouting across the moisture of rich soils, sunset area of relaxed, cooperative participation. Stadtwerkstatt building. art-agens to body-movens. expanding its colonies, sharing information, network- ing co-habitants across borders. During STWST48x4, Mycelium Network Society (MNS) is a Stadtwerkstatt we present a prototype of a 17 atom patulin network (Linz, Austria) and cycleX (Andes, New York) initia- structure to be premiered at Taipei Biennale 2019. tive to connect rhizomic mycelium network nodes. Martin Howse of 1010.co.uk holds a one-day Mycelial Mycelium Network Society imagines an underground Radio Activation workshop.

STWST48x4.STWST.AT318 319 GUEST PROJECTS

BIO AUSTRIA (AT) BIO AUSTRIA Stands for Organic Quality from Austria

BIO AUSTRIA is an association that proprietors of premises. Purchases of additional feed are done in organic farms can join. There are about 12,500 mem- accordance with the BIO AUSTRIA Regional Model, bers, which means that more than half of all Austrian whereby products from the region are always pre- organic farms are part of this community. As an asso- ferred. ciation of organic farmers, BIO AUSTRIA advances the • When it comes to animal husbandry too, BIO tanjab Quasikunst seit 2015 interests of its members domestically and abroad. BIO AUSTRIA farms far exceed the requirements of AUSTRIA is the go-to source of information for distrib- Austria’s Federal Animal Protection Law and the http://myceliumNS.net SLEEP DANCE: Gerlinde Roidinger, Tanja Brandmayr +++ SLEEP utors, processors and media representatives, and also EU’s organic regulations. More free-range time, BEER: Jörg Parnreiter and Thor Bräu Ottensheim +++ SLEEP informs consumers about the advantages of organic larger pens, a correspondingly larger area-to-animal STWST48x4 ALL PARTICIPANTS +++ FOOD: taro +++ farming and organic products. BIO AUSTRIA’s mission ratio, and mandatory pasture grazing for milk cows SLEEP48 - DEEP SLEEP and HEROES OF SLEEP: Matthew INFOLAB: Franz Xaver, GIS Orchester +++ Preview MNS at Bien- Fuller +++ SONATAS OF SLEEP/LESS: Svetlana Maras, Sainkho is to help develop agriculture for the good of our chil- demonstrate the tremendous extent to which BIO nale Taipei: Shu Lea Cheang, taro, Franz Xaver, Martin Howse Namtchylak, Olesia Onykiienko aka Neither Famous Nor Rich, dren, our environment, our farmers and our society. AUSTRIA member farmers have the well-being of +++ MNS-Workshop: Martin Howse +++ QUASIKUNST: Tanja Ioana Vreme Moser, Mimu Merz, Jessica Ekomane, Cammack Brandmayr, Felix Vierlinger +++ PREVIOUS LAYER: Stadtwerk- their animals at heart. Lindsey, Tamara Wilhelm, Fu aka Nelson Landwerh. Curated statt Archive +++ REOUZERI: Jakob Breitwieser HIGH ORGANIC STANDARDS & BIO AUSTRIA is the only organic farming associa- by Shu Lea Cheang +++ SLEEP TUNNEL: Stadtwerkstatt +++ tion that mandates raising male chicks along with SLEEP BATTLE: Stadtwerkstatt, Andreas Kaindlstorfer / STWST CREW: Tanja Brandmayr, Jakob Breitwieser, Shu Lea BEST REGIONAL QUALITY Kepler Universitätsklinikum Linz, Department of Neurology 1, Cheang, Thomas Hauer, Andreas Heißl, Jan-Nahuel Jenny, Jörg the females destined to become laying hens. These NeuromedCampus Sleep Laboratory, Pamela Neuwirth, Harald Parnreiter, Bernhard Schiesser, taro, Felix Vierlinger, Franz Xaver Organic farming produces high-quality products, and and many other association guidelines assure that Purrer, Georg Wilbertz +++ HYPNOMACHIA: Qualia Industries +++ Radio Features: Pamela Neuwirth +++ Documentation does so using methods that go easy on the environ- the quality of a BIO AUSTRIA product meets the +++ ROUGH SLEEP: Katharina Brandl, Violeta Ivanova, Made- Videos: Claudia Dworschak +++ Homepage: Michael Aschauer leine Schrabauer, Karla Woess +++ SPECULATIVE SCHOOL OF +++ Graphic Design: Ortner&Schinko ment. Pure water, healthy soil, climate protection and high expectations of BIO AUSTRIA members, part- biodiversity are additional outcomes of organic farm- ner enterprises and consumers. That’s why more and ing that benefit all of us! more BIO AUSTRIA partner enterprises engaged in The entire organic production chain—from the farmer both processing and marketing prefer BIO AUSTRIA to the processor to the retailer—is checked and certified quality products. by an independent auditor at least once a year. And You’re assured of BIO AUSTRIA quality when you see this is another big difference between organic products the BIO AUSTRIA logo! and other foodstuffs—when it says BIO AUSTRIA, you Curious? To learn more about organic food, click here: can really be sure! http://www.bio-austria.at/bio-konsument/was-ist- bio/bio-zum-reinhoeren/ OUR FARMERS GO THAT EXTRA MILE! All BIO AUSTRIA member farms produce especially high-quality products since, in addition to complying with the EU’s regulations for organic foods, they fulfill the association’s even more stringent guidelines. A few of the key additional provisions are: • The entire farming operation is organic, and not just a portion of it at one location, which is permitted by EU organic regulations. For instance, growing organic fruit while fattening swine through the use of conventional methods is prohibited at BIO AUSTRIA farms. Only in this way can a closed-loop production cycle function. • In the spirit of closed-loop production, feed and Jakob BreitwieserJakob organic fertilizer are produced primarily on the AUSTRIA BIO Die Reouzeri an der STWST-Lände

320 321 GUEST PROJECTS / netidee

netidee Christoph Fabianek (AT), Nico Grienauer (AT), Christian Ziegler (AT), Florian Fida (AT) Open Source Community Camp OwnYourData Austria’s largest open source internet promotion cam- paign, netidee, is a programme of the Internet Private Nowadays we each generate a huge amount of data, far-reaching terms of service to gather ever more data. Foundation Austria and has again produced three whether we use the internet, drive to work, or go gro- Our installation illustrates this dilemma and allows interesting projects as winners at the Open Source cery shopping. And we continuously make decisions visitors to try new paths in their digital routine in a Community Camp. which affect our privacy but also the convenience of playful way. There they can – and should – make errors! using new services. Companies on the internet, in par- ticular, have optimized their user experience in order to keep visitors on the website and make them accept Funded by: netidee (www.netidee.at)

Michael Faschinger (US) Matthias Zeppelzauer (AT), Alexis Ringot (FR), bürgerchain Florian Taurer (AT), Kevin Pirner (AT) SoniTalk Project “bürgerchain” aims to provide a web-based e-voting platform. It is not supposed to be used by Ultrasonic communication is increasingly used for authorities in public elections, but rather by smaller data exchange between mobile devices as well as for organizations like political parties, clubs or compa- location-based services. UK is applied because it is nies for internal polls and voting. The “bürgerchain” inaudible and requires only very simple hardware (only should facilitate participation in democratic processes a microphone and a loudspeaker). Several proprietary for members of such organizations. The main goal of solutions exist today for the UK such as Silverpush, Lisnr, Prontoly and CopSonic. All these solutions are Wewering Matthias the project therefore is to provide an e-voting platform bürgerchain combining anonymity, secure authentication, manip- developed jointly by companies and raise questions ulation-safety and transparency with flexibility, ease regarding the protection of users’ privacy. The goal of use and accessibility. of the SoniTalk project is to develop an open source, The unique approach of project “bürgerchain” is transparent and fully privacy-oriented protocol for UK. to combine the Austrian Bürgerkarte and a block- In the SoniTalk protocol, all privacy settings for each chain-like storage of voting results. The Bürgerkarte, application are managed separately by the user via Austria’s official technology for rendering electronic a separate central permission system. The architec- signatures, enables voters to provide a proof of iden- ture of the SoniTalk protocol also enables coordinated tity. The blockchain-like storage allows for the secure and synchronous communication between multiple and manipulation-proof storage of voting results. ­applications for the first time.

Project lead: Michael Faschinger Team: UI/UX design: Thomas Bayer Matthias Zeppelzauer, Florian Taurer, Kevin Pirner, Alexis Ringot Crypto: Felix Klengel Supporters: St. Pölten University of Applied Sciences acolono GmbH, Nico Grienauer Nico GmbH, acolono Funded by: netidee (www.netidee.at) Funded by: netidee (www.netidee.at) Pölten St. Fachhochschule SoniTalk SoniTalk

322 323 ERROR ARS the Art of Imperfection ELECTRONICA

Besides the annual Festival and the Prix Ars Electronica numerous projects and activities are conducted throughout the year by the different departments and teams of Ars Electronica. Ars Electronica Center Ars Electronica Futurelab Ars Electronica Solutions Ars Electronica Export Ars Electronica Japan The following part gives a brief overview of these activities since last year. Ars Electronica

Center Bauernhansl / Robert Electronica Ars

Museum of the Future

This is a time of transition for the institution known as a museum. Since its very inception in 1996, the Leading protagonists in this interactive process are the Infotrainers, who regard the exhibitions as their instru- Ars Electronica Center has been addressing the question of what a Museum of the Future ought to be like. Right ments and use stimulating stories and flashes of inspiration to get visitors involved in what they are looking from the start, the Ars Electronica Center has considered itself an experimental laboratory to learn how educational at and to link it up to their everyday lives, local surroundings and personal experiences. Infotrainers get into a material should be imparted in an information-based society. Since its architectural makeover and reopening on conversation with the members of the tour groups they guide, help them to formulate questions related to our January 1, 2009, more than one and a half million people have visited the exhibitions and attended the events shared future and offer them potential answers to consider on their own. In doing this, Infotrainers can reference held in Linz’s Ars Electronica Center. One key to its success has been the concept of situating open labs among current trends and configure the interaction with laypeople as a form of give-and-take among peers—after all, the exhibits, and creating a museum that makes carrying on a dialog with people the core of its mission. Change the Infotrainers themselves come from a wide variety of backgrounds and have acquired their expertise from a is another essential element of the Museum of the Future, an institution that continually reinvents itself while broad spectrum of fields including biotechnology, sociology, art, design, teaching and psychology. The Museum remaining true to its basic principles of examining the interplay of art, technology and society, and establishing of the Future is one of the cornerstones of Linz’s cultural landscape. It is a museum that pays attention to a public setting for participation, conversation and fascinating discussions. what people are saying. ARS ELECTRONICA / Ars Electronica Center

Digital Education

DIGITAL IS PERVASIVE! in the present and future. That said, the best way to are ­modifiable and dynamic — thus, they grow along bear on the daily business at the Ars Electronica acquire these digital skills isn’t by taking a wait-and- with the developments of our day and age. They are Center. Our mission statement: functioning as a com- Our survey of everyday facts & circumstances con- see approach, gradually becoming familiarized, or via described as concepts designed to bring forth solu- petence center for digital technologies and their fields firms the picture propagated in the media: Digitiza- some sort of cultural memory; things are changing too tions to particular problems. In our Digital Age, chal- of application in everyday life. As an educational part- tion has arrived, and done so in grand style. It’s now fast for that. To get these skills, we have to get active! lenges and problems are also of a digital nature (or ner/auxiliary designed to support classroom instruc- living large in our public sphere, our living rooms and Here, a logical step is to accelerate the pace of educa- spinoffs of digitization); accordingly, we must add tion, our museum’s program includes a diversified recreational spaces, as well as in our workplaces and tional initiatives that facilitate imparting these skills, this dimension to our repertoire. lineup of educational offerings that enable partici- public domains. and, of course, including this material in basic educa- Therefore, the theme of the 2017-18 school year in pants to effectively use, insightfully reflect upon, and Nevertheless, enthusiasm isn’t the only emotion this tional curricula. the State of Upper Austria was The Year of Digital subsequently evaluate digital technologies. digital transformation elicits; there are also insecuri- Education. The aim: to provide the easiest possible Besides our wide-ranging offerings for young visitors ties and fears. But isn’t this completely understand- WWW LIKE ABC access by as many pupils as possible to basic digital (mostly as members of school classes), we also pro- able? After all, when procedures change, new pro- education and the new media that are essential to it. vide training and continuing professional education cesses are implemented, and our latitude for action Reading and writing are among our civilization’s most The agenda: to make it clear that digital education for teachers. is shifted, it’s to be expected that we have to make important cultural techniques. Mastering them is may not be considered a domain reserved for certain And in addition to instilling information about new adjustments and obtain new skills. essential, a precondition for participation in social privileged schools. technologies and their consequences, we are also And we need these new skills to go forth empowered life. Since the development of these cultural tech- Here, the Austrian educational system’s vision available to consult on new curricula and the educa- in our endeavors to succeed and thrive in everyday life niques takes place in a socio-cultural context, they dovetails perfectly with the capabilities brought to tional strategies on which they are based.

Ars Electronica / Magdalena Sick-Leitner Ars Electronica / Magdalena Sick-Leitner Ars Electronica / Martin Hieslmair

328 329 ARS ELECTRONICA / Ars Electronica Center

Continuing Professional Education the many educational institutions that collaborate with Ars Electronica as Educational for Elementary School Teachers in the Ars Electronica Center. An interesting aspect of this is that the Ars Electronica Center not only makes Facility — School for the Future Upper Austria available educational offerings such as the anatomy Our continuing professional education initiative classes for students in the health profession held in ­entitled “Technology Is Child’s Play!” is meant to enable Deep Space 8K and featuring visuals created with Cin- In its capacity as an educational institution, the Emerging technologies, art and social change are the elementary school teachers to use digital technologies ematic Rendering software; we also provide students Ars Electronica Center has offerings geared to kin- cornerstones of our program—but the focus is always in classroom instruction and to enhance their exist- with the opportunity to appear at the Ars Electronica dergartens, all primary and secondary school grades, on people. Accordingly, the Ars Electronica Center does ing skills. The Ars Electronica Center Kids’ Research Center itself during the course of their educational universities and technical schools, as well as adults not define itself as a temple of knowledge that delivers Lab is a setting for experimentation—both analog career—for instance, the Linz Art University students pursuing lifelong learning. The yearly figures: lots of interesting facts. It is what you might call a and digital—with motor, cognitive and social skills. As who have exhibited their works in conjunction with the • 4,000 kindergarten kids museum that is also a good listener, and is interested Albert Einstein realized long ago, play is the highest Time Out exhibition series. • 10,000 elementary school pupils in the views, ideas and concerns of visitors. In going form of research, and we have made this insight our • 20,000 secondary school students about this, what seems especially important to us is maxim. We’ve configured a space in which 4-8-year- My Future Workshop • 2,000 apprentices taking a playful, creative approach, generating enthu- olds can engage in learning-by-playing and have fun • 4,000 college students siasm for new ideas, and being committed to making while getting hands-on experience. With a mix of Endowing future prospects, showing possibilities and • 180,000 total visitors them accessible to the general public. new technologies and familiar materials, our young- trying out new things to discover one’s talents—The est visitors can spend quality time in the Museum of My Future Workshop project launched by the State of the Future and thus get valuable preparation for their Upper Austria in cooperation with the Ars Electronica own future. Developing eagerness to experiment and Center especially targets unemployed young people having fun doing so are essential to the way we work enrolled in training programs. In May 2015, the first with children, but this also characterizes our approach 20 youngsters spent a whole week together with coun- to continuing professional education for elementary selors in the Ars Electronica Center. In the facility’s school teachers. The highly stimulating interplay of labs, they got acquainted with fields of work that will interesting theoretical inputs and do-it-yourself units increase in importance in the future, got hands-on both motivates and enables participants to use new experience with the tools of the trade and met a lot of technologies more confidently and integrate them into people, some with unconventional career paths. the educational process. From 3-D printing in the FabLab to sound design in the SoundLab, and even producing an indie film of The Ars Electronica Center as an their own—this is a great chance to get in touch with undiscovered gifts and derive pleasure from creativity. Educational Facility for Colleges The Future Workshop fosters the ability to work in a The Ars Electronica Center has been working together team, to independently develop solutions to problems, intensively with Upper Austrian universities and uni- as well as to speak publicly in front of a small group. , © Florian Voggeneder , © Florian Rendering Cinematic versities of applied sciences for many years now. Thus, Youngsters equipped with a tablet have the oppor- the Museum of the Future is a setting for extracurricu- tunity to record their experiences in a blog and then lar education for elementary and intermediate school refer to them in preparation for future job interviews. pupils as well as college students. The University of Since the first Future Workshop in May 2015, there Linz, the Kepler University Clinic, the Upper Austrian have been more than 20 such events with unemployed Teachers College and Linz Art University are some of young people in training programs.

330 331 ARS ELECTRONICA / Ars Electronica Center

APPRENTICE DAYS: very important. In order for us to develop ­continuing INDUSTRY 4.0—LIFE 4.0 professional education offerings that do justice to FutureClash teachers’ real-world needs, we, in addition to co- operating with teacher training institutions, have to Apprentice Days at the Ars Electronica Center are held This summer, in cooperation with think300, the stay in touch with the teachers themselves. We achieve in cooperation with the Upper Austrian Industrial Ars Electronica Center organized the first FutureClash, this with the help of our Ambassadors—teachers as Association. At this two-day program for apprentices a multi-day workshop program for entrepreneurs multipliers. One part of their role is to publicize the at Upper Austrian manufacturers, young people can and kids. On three successive days, youngsters were Ars Electronica Center’s educational program in get a glimpse at the world of Industry 4.0. accompanied by museum pedagogues and modera- schools; on the other hand, they also provide feed- According to a fallacy that’s very widespread in tors as they engaged in exploration, experimentation back to us about what teachers and schools need. modern society, the only jobs that will soon be avail- and play. Ambassadors are on the faculty of schools throughout able in our increasingly digitized world are those FutureClash is an offering for firms that want to give Graf Vanessa Electronica/ Ars Austria. Their activism for a good cause is rewarded that require a degree from a college or university of their employees a break from very cerebral grown-up applied ­sciences. Nevertheless, it’s simply not true with benefits such as invitations to the Ars ­Electronica thinking and reconnect with imagination-driven, child- the kids’ and adults’ agendas regularly dovetail. that youngsters who’ve completed an apprenticeship Festival and our Ambassadors’ Day, discounts on like-creative mental structures. The purpose of this is Depending on the workshop, the adults are involved won’t have a chance on the job market. program bookings and exclusive information. to break out of entrenched patterns and absorb inspi- in a variety of forms—from collaboration as equals to The only difference from the way things have been in ration. To achieve this, leading-edge technologies and interviews and observational phases. the past is that IT skills will increasingly be called for creative techniques are used to come up with uncon- Inherent in kids’ natural behavior based on trial­-and- in the crafts & trades too. ventional solutions. error and their playful approach is the potential for To get their apprentices geared up for these changes The workshops are set up in such a way that there’s big ideas. The ultimate objective of FutureClash is for in the world of work, 30 of Upper Austria’s foremost successive interplay between the kids’ program and adults to define new paths that lead them to creative companies took part in a two-day program, Industry the formats for company staffers. In the workshops, solutions. 4.0—Life 4.0, at the Ars Electronica Center, where the apprentices immersed themselves in the Digital World during their informative and playful encoun- ters with the exhibitions throughout the Museum of the Future. In light of the fact that what consti- tutes Industry 4.0 has not yet been finally defined, it

can be maintained that as tomorrow’s highly skilled Sick-Leitner / Magdalena Electronica Ars employees, today’s youngsters will help configure CanSat Competition 2017/18 this development. Mini-satellites the size of a coke can, a rocket launch And the winner was: Team EcoSat, formed by Klemens Teacher Continuing Professional at the Austrian-German border and three teams of Fischl, Maximilian Hierner, Florian Leonhartsberger, students from all over Austria, competing for the title Alexander Fraisl and Tobias Stronl, from HTL Ybbs! Education and Ambassadors of best CanSat team (and the participation in the Euro- Congratulations! After winning the Austrian local If we want our youth to be well-prepared for the future, pean CanSat Competition from June 28, 2018, to July 1, ­competition, Team EcoSat continued in an exciting then we have to consider up-to-date teaching skills 2018 in the Azores islands) – that’s the first Austrian way – at the European-wide competition in the Azores just as important as the process of reaching students. CanSat competition in a nutshell! at the end of June, their CanSat was once again able to Accordingly, our educational mission is focused on CanSat is short for satellites (Sat) the size of a coke can demonstrate its skills.

continuing professional education for teachers. What Voggeneder Florian (Can). The participating teams only had a few months do our teachers need to be prepared for the high-tech at their disposal to build their very own mini-satellite, world of their students? What tools can we provide before they would have to show their skills at the big them with so they have the substantive wherewithal launch at the airfield Schärding-Suben in Austria. On to venture into terra incognita and develop a sense its way back down to Earth, the small devices have to of openness towards new approaches to teaching fulfill two separate missions: Measuring the tempera- and to their students? Our answer is to familiarize ture and air pressure, as well as a secondary mission them with topics, techniques and developments with chosen by the teams themselves. The competition was which they, as digital non-natives, are now confronted. organized by the European Space Education Research As their distance diminishes, teachers acquire more Office (ESERO) Austria, the educational office of the self-confidence as well as knowledge and skills they European Space Agency (ESA), which, in Austria, is Ars Electronica/ Vanessa Graf Vanessa Electronica/ Ars can apply in the classroom. We regard this contact as Graf / Vanessa Electronica Ars located at the Ars Electronica Center.

332 333 ARS ELECTRONICA / Ars Electronica Center

In-Flight Call to the International Space Station

In late 2017, ESERO Austria offered teachers an extra­ ordinary opportunity—a live in-flight hook-up to the ISS from the Ars Electronica Center. Austrian teachers and students, together with their counterparts in the Czech Republic, Finland and Italy, could take part in a video conference with Italian astronaut Paolo Nespoli and discuss life in outer space. In addition to the in-flight call, participants were treated to a fascinating presentation about the cosmos in Deep Space 8K, and were familiarized with educational materials made available by the European

Space Agency. / Martin Hieslmair Electronica Ars

Wir sind Zeitung

What is fake news? How is it produced and how can what’s true and what isn’t? Is it even possible to eval- we protect ourselves from it? False reportage exists in uate this content? Who can help me do so? And how

numerous facets and forms, and anyone can be con- should government leaders, law enforcement agencies Martin / Hieslmair Electronica , © Ars Rendering Cinematic fronted by it—for instance, phony postings on Facebook and society deal with this very explosive issue? and faked videos on YouTube. So, how do you find out School classes throughout Austria confronted with these questions in a competition entitled Wir Sind Zeitung [We’re the News] sponsored by the OÖNach- Long Night of Research richten (regional daily), Pädagogische Hochschule Oberösterreich (regional teachers’ college) and We offered our guests free admission to the world of Research as the largest such event in Austria. From 5 Ars Electronica Center. The contestants were science and research once again on Friday evening, to 11 PM, 1,068 visitors stopped by the Ars Electronica ­students in the 4th to 11th grades, who submitted April 13, 2018! A wide array of research at facilities Center and thus made the Museum of the Future a ­journalistic texts such as news articles, interviews, throughout Austria—from school projects to state-of- Linz hotspot on this evening. letters-to-the-editor, op-ed pieces, reviews, editorials, the-art science—was featured at this open house. The The offerings included quickie tours through various proclamations and short films dealing with the subject aim was to enable the general public to appreciate exhibitions, presentations about the security risks of of fake news. domestic institutions’ achievements and to present smart homes, and special screenings in Deep Space 8K. The best submissions were chosen by a jury and current projects, recent findings and new technologies This year’s highlight was a live transmission of brain published in a supplement to the OÖNachrichten. The in interesting, understandable and entertaining ways. surgery being performed at Kepler University Clinic, pupils who created the prizewinning projects and their And this was a big draw once again — 228,000 visitors where Dr. Andreas Gruber wore a headset to commu- teachers were invited to a presentation in Deep Space at 265 locations in all nine Austrian states set a new nicate with remote spectators.

Ars Electronica / Vanessa Graf / Vanessa Electronica Ars 8K at the Ars Electronica Center. attendance record and reconfirmed the Long Night of

334 335 ARS ELECTRONICA / Ars Electronica Center

DonauArt BLUE DonauArt is the umbrella brand of the museums and How does it feel to stand below the surface of the exhibition spaces of the City of Linz and the State of Danube? Immerse yourself in a stream of unusual Upper Austria. From June to October 2018, they’re stories! presenting a total of 16 works having to do with the The Danube snakes its way across Europe for almost Danube Basin and water. At the Ars Electronica Center, 3,000 kilometers; its course takes it through 10 you’ll see the following: countries. The Danube creates commonalities that bridge geographic borders. BLUE is a real-time visual- ization of flow speed, wave formation and water level. Flow In a regular rhythm, bubbles flow past—on an ongoing basis, they collect information online about the river Flow lets you feel what it’s like to stand in the middle and its surroundings. When visitors collide with them, of a fast-flowing river. On the floor of Deep Space 8K they burst and release their information. BLUE is not at the Ars Electronica Center, thousands of tiny arrows only a newsroom; it’s also a clock that reflects the pas- “flow” from one wall to the other while the sound of sage of time and the seasons. The installation changes rushing water is audible in the background. A specta- along with the time and weather conditions, reacting tor entering the projection surface awash with arrows to day and night, rain and snow. BLUE reinvents itself, modifies the current. Flow was produced by Poyraz second by second, and compels installation visitors to Yildirim in conjunction with his studies in Linz Art consider the Danube and the flow of time. University’s Time-based and Interactive Media program. h.o (Hideaki Ogawa, Emiko Ogawa, Satoshi Onodera, Taizo Poyraz Yildirim (TR) Zushi), Ars Electronica Futurelab (Woeishi Lean, Sebastian Neitsch), Hydrographic Service of the State of Upper Austria DS Mobile at the Long Night of Sciences in Erlangen, © Thomas Kollmann © Thomas in Erlangen, Sciences of Night the Long at DS Mobile

Deep Space Mobile

Deep Space Mobile is a small portable version of The presentations are screened on a projection sur- Ars Electronica’s extraordinary Deep Space 8K. Just like face of at least 6x4 meters. The lineup includes just the original, Deep Space Mobile features a wide-rang- about anything that can be shown in the original Deep

ing lineup in 2-D and 3-D. The big difference is that Space 8K—for example, Uniview takes you on a jour- Graf / Vanessa Electronica Ars Deep Space Mobile isn’t fixed in place; as the name ney through outer space; Cinematic Rendering lets you Flow suggests, it can be set up at events off-site. So, not explore the human body, layer by layer; and you can only visitors to the Ars Electronica Center can enjoy the tour ancient cultural heritage sites like the subterra- amazing content developed expressly for Deep Space nean Rome. 8K; clients who book Deep Space Mobile can, too. h.o BLUE 336 337 ARS ELECTRONICA / Ars Electronica Center

RADICAL ATOMS 2,800 Kilometers—10 Countries—1 River Hiroshi Ishii, Tangible Media Group, MIT Media Lab Deep Space 8K is the ideal setting to behold a images makes them look great too! That applies above How do we get the digital (back) into the physical astounding properties and capabilities. Neuroscience high-definition collage of satellite images in various all to measurements made in the infrared range, which world? An answer to this question could be so-called and biotechnology, robotics, hardware and software color spectra showing the entire course of the Danube is normally invisible to the human eye. Instead of the radical atoms. play roles in this; so do ­traditional practices in the from its source to its delta. Satellites help us to ana- usual combination of red, green and blue in the visible In a sort of digital core meltdown, they bond informa- crafts and trades. lyze complex global interrelationships: weather devel- range, a combination of other channels makes it easier tion and material — the information liberated from the A hotspot of these trailblazing developments is the opments, ongoing measurement of expanding cities, for scientists to evaluate the data. 2,800 Kilometers constraints of the pixel realm, the atoms wrenched out Media Lab at the Massachusetts Institute of Technol- surveillance of the oceans’ surface, and detection of – 10 Countries – 1 River features breathtaking footage of their static state and set in motion. The results are ogy (MIT), where Hiroshi Ishii and his Tangible Media forest fires. Thanks to satellite technology, we can shot along the Danube Basin, and is screened on Deep smart materials that can be computer-modeled and Group have been working on new forms of human-ma- acquire the precise data we need to protect our envi- Space 8K’s jumbo 16-by-9-meter projection surface. remodeled into ever-new forms. Radical atoms in the chine interaction for over 20 years. The breakthrough ronment. But in addition to the scientific aspect, the hands of visionary scientists and engineers are being prototypes that have been emerging there are now so-called false color technique used to render these ESA Copernicus processed by Birgit Hartinger und Juliane Leitner formed into high-tech materials and applications with exhibited at the Ars Electronica Center. Florian Voggeneder Florian Ars Electronica / Martin Hieslmair Electronica Ars B2,800 Kilometers—10 Countries—1 River musicBottels, Tangible Media Group / MIT Media Lab

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VRLab Virtual reality, augmented reality and mixed reality, works of art and architecture, the creative economy, total immersion in virtual worlds and superimposing performance and the theater. Richi Owaki (JP), Yamaguchi Center for Arts and Media [YCAM] data onto our reality—for several years now, every- The VRLab in the Ars Electronica Center’s Main Gallery The Other in You body’s been talking up these concepts and ideas once showcases the latest VR, AR and MR technologies. In again. The enthusiasm that accompanied the dawn of addition to applications by filmmakers and animators The Other in You, developed as a new way to experience which had been forgotten in the act of watching. The this new high-tech age in the 1980s and ’90s is back as well as artistic approaches, the VRLab relates the dance, has realized a novel dance audience experience. movement of the dancer is captured with a motion and the technology deployed in today’s data glasses history of virtual and augmented reality’s develop- We assembled the cutting-edge computer graphics, capture system. The data is converted into 3-DCG to (head-mounted displays) seems to finally be able to ment. What did 18th-century spatial illusions look haptic feedback devices, which directly express the create virtual dancers covered with black skin. Using live up to the visions that preceded it. like, how did we progress from the stereoscope to the dance to the body, 16 stereophony channels sound and VR technology, the views of the audience move freely VR, AR and MR have become a playground of multifar- Oculus Rift, and in which directions will VR and AR research on Virtual Reality techniques to realize this during the performance and the dancers get very close ious pursuits: the gaming sector and film industry, appli- be advancing in days to come? The VRLab provides work. How can we relate to others, who are supposed to the audience—an unlikely situation with ordinary cations in the educational field and tourism market,­ insights into these questions. to be distant from us? Do we really know what it is to dance theater. In addition, screened by 3-D sensor cam- “see”? The Other in You is an attempt to revive the eras, the audience members themselves virtually come notion of our body in relation to an object, a notion, to appear in the VR images. Bundesdenkmalamt

CyArk (US), FarBridge (US) FH Hagenberg / Playful Interactive MasterWorks Environments (AT) In this virtual reality application, you travel to various House of Medusa historically significant locations around the world and In 2000, fragments of Roman mural paintings were discover the fate of the ancient capital of Thailand, discovered and recovered during an archaeological the mysteries of a pre-Incan temple in the Peruvian emergency excavation prior to the construction of a Andes, the astonishing Native American cliff dwell- car park in Enns. The paintings were part of a vaulted ings of Colorado and the monumental stone carvings ceiling with associated wall decorations and signifi- of Mount Rushmore in South Dakota. CyArk’s virtual cantly broaden the knowledge of this art form in MasterWorks museum shows four fully explorable Roman Austria. Enter the virtual house of Medusa in environments in which artifacts can be collected and this VR application. learned by archaeologists and scientists.

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DEPART (AT) Jürgen Ropp (AT), Oliver Lehner (Sound Design) (AT) The Lacuna Shifts LOGIN Alice in Wonderland inspired the artists’ collective and mysterious aesthetics, and that begins to call into This installation invites visitors to physically experi- ­participants also insinuate themselves into the digital named DEPART to create this Virtual Reality applica- question the entirety of one’s perceptions­ of space, ence the login process, which normally isn’t visible. world and influence it. The boundaries between reality tion that immerses users in a world behind the look- the world and reality itself. The transition from physical to digital states is man- and virtuality increasingly blur. ing glass in which nothing is the way it seems. Walls ifested by an experience in which VR-Experience, Duration ca. 6 minutes move, objects begin to speak, and gravity ceases to the perception of one’s body melds Computer, HTC Vive, Wooden Object, Mirror operate. The space is incessantly changing, depend- 2017 by DEPART (Leonhard Lass, Gregor Ladenhauf) with its representation in the form ing on one’s point of view. The use of a real-time 3-D commissioned by Sound:Frame of data. In the installation’s virtual environment lets visitors experience environment, the omnipresent data this realm of wonders that has new coalesce into spatial, almost tangi- surprises in store each time you step ble entities, and the point of view inside. In the background, voices are assumed is that of the machine. The audible, and there appear excerpts virtual space is not only populated from Lewis Carroll’s Alice in Wonder- by the visitor’s own body; other land, its sequel entitled Through the Looking-Glass and what Alice Found There and new poetic fragments written by the members of DEPART. The combination of these surreal graphical, auditory and textual lev- els sends visitors on a journey that is characterized by a deceptive sense INEO (AT) of space, acoustic hallucinations Project INEO INEO is a virtual reality experience designed ­especially the future. For example, homes for the aged or retiree with the interests and needs of non-tech-savvy seniors clubs will be able to order the service as a subscription in mind. The whole experience—beginning with the plan that includes the necessary hardware. In this way, Keiichi Matsuda (UK/JP) choice of scenery—was developed in cooperation with members can conveniently enjoy a constantly chang- HYPER-REALITY members of the Pensioners Club of the City of Vienna. ing line-up of virtual-reality-based experiences. Thus INEO can offer a growing target HYPER-REALITY is a concept film, presenting a HYPER-REALITY attempts to explore this exciting but audience—the older generation—a provocative and kaleidoscopic new vision of the future, dangerous trajectory. It was crowdfunded, and shot on way to get into modern technol- where physical and virtual realities have merged, and location in Medellín, Colombia. ogy and partake of state-of-the-art the city is saturated in media. Our entertainment. The first INEO expe- physical and virtual realities are rience takes players on a trip to outer becoming increasingly intertwined. space. In the role of a marooned - Technologies such as VR, aug astronaut, they can weightlessly mented reality, wearables, and the explore an abandoned space station internet of things are pointing to a and activate its escape pod for the world where technology will envelop return trip to Earth. INEO plans to every aspect of our lives. It will be enable players to have input into the the glue between every interaction development of new experiences in and experience, offering amazing possibilities, while also controlling the way we understand the world.

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Frederick Baker (AT/UK) TIME OUT .08 Klimt’s Magic Garden Exhibition opening on March 16, 2018 Klimt’s Magic Garden allows the audience not only to enter INTO Klimt’s art work for the Stoclet Frieze, but also to travel OUT the other side into a 21st-century Linz Art University and Ars Electronica have been WORKS: experience. That new space is Klimt’s Magic Garden, working together closely for many years now. One col- the story space that lies behind the two-dimensional laborative project has been the TIME OUT exhibition Floor projections for the museum elevator surface of Klimt’s design. series that enables young media artists in the school’s the hive: Christian Berger Klimt’s three characters the knight, expectation, Time-based and Interactive Media program to show palmeria: Hanna Besenhard / Felix Winkler / Reinhard and fulfillment are given agency and the audience is their work in the Ars Electronica Center. Reisenzahn allowed to explore these themes by making their own This Bachelor of Art degree program offers comprehen- Muscle man: Titus Probst / Joachim Iseni / Philip journey into the visual world Klimt created. My design sive and highly professional approaches to the theory, Eglauer / Viktoria Pflüglmayer / Stefan Bruckner technology and design of digital media. It’s geared philosophy is slow VR, which means allowing the first- sub fluid: Yazdan Zand time user to have the space and time for a smooth towards students interested in gaining in-depth skills and wide-ranging experience in the areas of video, experience. Works for the Deep Space 8K audio, installation, interface and interaction. In this Direction and conception: Frederick Baker, program, the accent is on providing students with Particle Images: Christian Berger 3-D Graphic Artist: Markus Cermak 3D Shape: Christian Berger Sound Designer and Composer: George Taylor plenty of creative latitude to express themselves Video post-production: Christian Leiss Postproduction GmbH using the means afforded by audiovisual technology, Das Holzkamel von Marokko: Markus Bruckner Dramaturgy Sandra Fasolt. to experiment with digital media, and to bring their Feuerwerk: Ute Hackl World premiere at the Museum of Applied Arts (MAK), Vienna. own ideas to fruition. What an Illusion: Fabian Terler A Frederick Baker project in cooperation with Christian Leiss GmbH and the Museum of Applied Arts (MAK), Vienna On March 16, 2018 TIME OUT entered the eighth round! Mischpult: Monica Vlad This VR-experience was commissioned by the MAK – Austrian This time the focus was on works for the Deep Space Espacio Profundo: Gregor Woschitz Museum of Applied Arts / contemporary art and presented at 8K and ground projections for the museum elevator. Flow: Poyraz Yildirim the MAK for the first time in 2018.

Gianpaolo Barozzi (Cisco) (IT), Bill Jackson (Cisco) (US), Chuck Shipman (Cisco) (US), Laura Smith (Slanted Theory) (UK), Mark Burkitt (Slanted Theory) (UK), Toshi Hoo (Institute For The Future) (US) Digiti-light the Human Networks The naked ape is a social animal. We have always been Cisco: Gianpaolo Barozzi (IT), Bill Jackson (US), connected to each other through networks of relation- Chuck Shipman (US) www.cisco.com Slanted Theory: Laura Smith (UK), Mark Burkitt (UK) ships. Digiti-light Human Networks is a collaborative www.slantedtheory.com VR environment that immerses people in the digitized Institute For The Future: Toshi Hoo (US) www.iftf.org map of their organizational network, enabling them to understand and feel how they are connecting and Partical Images, Christian Berger collaborating. Digital technologies make the creation and application of human networks simpler and faster than ever before, deeply changing the way we live, learn, play and work. Organizations and corporations are transforming from hierarchical structures to net- works of networks, requiring new solutions to enable their talent to succeed and thrive. Their HR teams need to deliver delightful and compelling digital solutions to be impactful; moving from H-R to H-Art, recognizing that beauty has always been a key attribute in eval- uating data, hypotheses and theories – “Theoretical physicists accept the need for mathematical beauty as an act of faith” [Paul A.M. Dirac].

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WORKS: Roboterzelle Creative Robotics Institute of Robotics, Johannes Kepler University Linz [proteus] Exhibition opening on May 9, 2018 Design, robotics: Maria Smigielska (CR UfG, mariasni.com) FaR – Fashion and Robotics Design, BCI: Pierre Cutellic (CAAD ITA ETHz, Compmonks) Anna Katarzyna Piecek The key idea of Industry 4.0—networks interlinking with intelligent robotic-architectural structures that Robotics: Johannes Braumann (CR UfG, RiA) Fashion & Technology: Prof. Christiane Luible-Bär and all the infrastructure, machines and human beings automatically adapt to our needs? Fabrication assistant: Marie-Caroline Zimmermann-Meinzingen Prof. Ute Ploier (CR UfG): Creative Robotics: Prof. Johannes Braumann, Maria Smigielska involved in production processes—currently determines The Creative Robotics exhibition demonstrates once Electronics advisor: Wesley Lee (UfG) University of Art and Design Linz how we think about coexistence with robots. On one again how industrial robots are being used outside of Chemistry advisor: Barlomiej Doros hand, it’s said that automation will facilitate fabrica- their intended areas of application in mass manufac- Cyber Physical Macro Material tion processes and simplify our everyday life; on the turing, and have become a medium of artistic and cre- BranchBoarding ITECH M.Sc. Thesis Project: Miguel Aflalo, Behrooz Tahanzadeh, other hand, rapid progress induces anxiety and inse- ative expression and a catalyst for the implementation BranchBoarding “3rd Generation” limited edition Jingcheng Chen curity at the thought of machines gaining the upper of innovative ideas and the manifestation of futuris- Tree of Motion: Nico Rayf, Applied Robotics Lab: Philipp Hor- Thesis Advisors: Dylan Wood, Maria Yablonina nung, Wood Technology, University of Applied Arts Vienna Further Scientific Development: Dylan Wood, Maria Yablonina hand over the world we inhabit. tic visions. Together with our prominent associates, Exhibition Project Team: Denitsa Koleva, Sanoop Siby Beyond the realm of their industrial applications, we are exploring new ways to utilize industrial robot University of Stuttgart: Institute for Computational Design and A Bridge Too Far Construction, ICD (Prof. Menges), Institute of Building Structures however, members of a creative young generation technology beyond the confines of big assembly lines. This research was done at the Centre for IT and Architecture & Structural Design, ITKE (Prof. Knippers) of architects, artists and designers are now using In cooperation with KUKA; Laboratory for Creative (CITA), KADK, as part Complex Modeling, a Sapere Aude machines to perform tasks that are radically different Robotics, Fashion and Technology program at Linz Advanced Grant research project supported by the Danish Coun- than the jobs they were designed to do— applications Art University; Institute of Robotics at JKU–Univer- cil for Independent Research. InFORMed Clay Matter It was carried out in collaboration with Bollinger + Grohmann Co-de-iT for digifabTURINg that highlight the possibilities of cooperation and sity of Linz; Institute for Computational Design and consulting engineers, KET at Berlin University of the Arts, SICK alternative utilization. Can industrial robots be used Construction (ICD), University of Stuttgart; Centre for Sensor Intelligence Denmark, and Materials Science and Engi- THE MEANS neering at Monash University. to fabricate fascinating forms in the field of fashion IT and Architecture (CITA) in Copenhagen; Co-de-iT in Design, robotic rod bending: Maria Smigielska (CR UfG, Project staff: Paul Nicholas, Mateusz Zwierzycki, Esben Clausen design or to produce intricate objects out of clay? What Turin; Nico Rayf @ Tree of Motion in cooperation with Bendilicious) Nørgaard, Scott Leinweber, Christopher Hutchinson and Riccardo Design: Mateusz Zwierzycki (The Object) does a bridge assembled out of robot-formed modules the Applied Robotics Lab and Wood Technology at the La Magna. look like? Will our public spaces someday be teeming University of Applied Arts Vienna.

Infabity The HARATECH Company’s My Twiin Bodyscanner performs a 3-D scan of a person’s entire body within only a few seconds. Then, its software automatically converts the body scan data into a 3-D model and cre- ates a personal virtual 3-D avatar. Immediately after the scan, the subject’s own 3-D selfie is sent to his/ her smartphone, where the avatar is displayed on var- Ars Electronica / Robert Bauernhansl / Robert Electronica Ars ious 360° background images and can be used for a Cyber Physical Macro Material, Miguel Aflalo (BR), Behrooz Tahanzadeh (IR), Jingchen Chen (CN), Institute for Computational Design and Construction (ICD), University of Stuttgart variety of applications. The next step for HARATECH is research on deploying this technology in the fields of Augmented and Virtual Reality. At present, the models are used in conjunction with a 3-D printer that, in a process that takes only a few hours, can generate, layer by layer, a miniature statue that is an exact replica of

the scanned subject. Sick-Leitner / Magdalena Electronica Ars Ars Electronica / Robert Bauernhansl / Robert Electronica Ars FaR – Fashion and Robotics, [proteus], Pierre Cutellic (FR/CH), Anna Katarzyna Piecek (PL) Maria Smigielska (PL/CH)

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Since 1996, the Ars Electronica Futurelab has been configuring the future at the interface of art, technology and within the framework of subsidized research projects or in collaboration with partners in the art world, scientific society. The aim of the lab’s own projects is to open up spaces conducive to thought and action, ones that gener- fields or the private sector, the core of these activities is the creative, experimental process and a reflection of ate new perspectives and make available unprecedented means of taking on the challenges of the present with current or future social issues. The Lab does this by generating questions rather than answers, utilizing scientific a view towards the future. The Ars Electronica Futurelab’s projects are “sketches of our future(s),” presented explorations, artistic expression and pointing at the social impact by keeping its focus on “the meaning of” to as an invitation to a broad audience to join the debate and discussions about the meaning of these sketches or our society. Transdisciplinarity as a work approach has been important to the Futurelab since its very beginning. concepts of our future to our society. An open approach based on art and research and an orientation towards The disciplines in which the approximately 30 staff members have received their training include architecture, “the meaning of” characterize the way this lab works. In everyday practice, the established differentiations graphics, construction engineering, computer science, art, media design, media technology, music, physics, between art and science are reordered and links are established among a wide variety of approaches. Whether sociology, telematics, surveying, economics, medical technology and industrial design. ARS ELECTRONICA / Ars Electronica Futurelab

Future of Imperfection 1 2 Article 1 of the constitution of the Federal Republic of Sufficiently analyzed and criticized as a value system Germany states that “Human dignity is inviolable,” and of global economic liberalism, these are ultimately Austria’s Constitution contains the same formulation. movements of a process of transformation, in which The European Union likewise gives priority to an under- the economic sphere imposes itself on the biosphere. standing of human dignity as a fundamental right. For a long time, this term “ecological,” derived from the Nevertheless, none of these documents go into detail Greek oikos (“house”) and logos (“teaching”), simply about what is meant, precisely, by dignity. Instead, meant livable conditions, but it has now been trans- dignity is explained in terms of derived principles formed through the superimposition of an antonym: governing state power, or freedoms and rights, such as What happens is that the teaching, or logos, whose the right to “informational self-determination” (data meaning was, etymologically speaking, an approach protection). Immanuel Kant declared human dignity to which utilizes research and inquiry, is replaced by be an end in itself and defined it in terms of its viola- the notion of regulation, in Greek, nomos (“law”), or tion, by contrasting it to the use of human beings as a how something must be. Meanwhile, the concept of means to an end. This negative image (of subjugation, “house” (an original existential milieu) is replaced with exploitation, betrayal) says more than the postulation the economic understanding of the house as “house- of an intrinsic value, and thus illuminates dignity inter- hold,” and this in turn completes the transformation subjectively by showing us what its absence might of the inhabitant into the consumer, into the one who look like. It emerges in a concrete form where tactile receives an income. . (TR), Bauernhansl Robert © Abysmal / Void sensitivity towards that which must remain untouched The culmination of this homologous semantic renam- is palpably disrupted. More and more, it seems to me, ing of the ecosphere can be seen in the loss of the people need to be reminded of their dignity, which is earth’s renewable resources of food, water, and energy. difference between customers for whom one consumers, the “customers,” and as it were legitimized gradually being taken from them. Since July 8th, 2016, the yearly use of these exceeds competes, for economic reasons, and human beings, collaboratively. There are currently numerous warnings about blindly the planet’s capacity for regeneration. who will be made into customers. The enjoyment of chocolate does not obscure the trusting data-gathering platforms like Facebook and That there was no alternative (M. Thatcher)—we don’t It is characteristic of this process of transformation knowledge that child labor is a part of the process Google, and there’s good reason for this. There seems need to propagandize about this any longer. By realiz- to some extent that there is a sort of “anything goes” of production. We use plastic bags and many other to be less emphasis, however, on warnings about the ing itself as the ecosphere, and thus imposing a mis- attitude, which enables any critique of liberalism contemporary packing materials made from plas- social consequences of so-called Industry 4.0, and understanding about general livelihood, the economic to be incorporated as an intrinsic proof of the func- tic, although everyone has long known that millions about what is now being extolled as—and by means of— takes on the character of a constant or law of nature; tioning of liberalism, thereby rendering this critique and millions of tons of this plastic are polluting the artificial intelligence, AI, and its purported benefits. the objection that it is man-made, a mere invention, ineffective. The principle is to receive as mere data oceans and threaten maritime fauna and flora. This A new operating system is currently being installed contradicts its theology (and theodicy). what was intended to be information which would industry, with which we’ve learned to make common in capitalism under the heading of ”digitization.” Any sort of limit imposed on the business model of have an effect. Hence, it is sufficient, for example, cause, creates relationships of dependency, within Meanwhile, the potential for progressive digitization— digitalization by the concept of dignity is not allowed. to date the categorical imperative as the maxim of which our universities and other educational institu- conceived of as a machine-supported contribution to By and large, the ecosphere abbreviates the individual a philosopher to 1785; it relieves one of the task of tions must direct themselves according to the rule of the common good of society—is being totally neglected as someone whose purchase of a television, or of a having to place oneself in relation to this maxim, and efficiency, and will be directed to follow its content. in the conversation about AI. pair of boots, makes a contribution against a period it certainly relieves one of the task of measuring up And when—one further example—private companies In light of these facts & circumstances, this essay aims of economic recession, perhaps caused by under-con- to it. Moreover: it seems that the development of the running nuclear power plants are able to make the to orient the reader in the search for approaches and sumption, as though it were a matter of being able to ecosphere would lead to a culture of debasement or it state pay for the costs of transporting nuclear waste insights that are conducive to the effort to actively breathe (following the mantra: “there is no alterna- would have this, at least, as one of its prerequisites. with almost no objection being raised—almost as an unpack the concept of dignity as both a phenomenon tive”). The question of human dignity, if it is injured Large and small injuries to human dignity, which advance payment for the lost profit from an exit from and as a scientific fact—and all this in the context of by the instrumentalization of the person for the goals occur everywhere according to the industrial stan- nuclear energy, which was supported by the majority, AI and its manifold potential. of others, only arises ultimately where there is a dard, are not only accepted, but also supported by the then that is not only an example of the failure of

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the (“secular”) division between the society (state) and 1990 and 2010, amounts to a cumulative total of 4.7%. examined according to legal statutes and evaluated by the years until 2025—with a tenfold increase in the business (industry). Because it prioritizes monetary Social improvement—contrary to the earlier belief that ethics commissions in light of general social questions, size of all the data—should increase to 60%. By then, and power relationships over the ongoing damage to economic inequality was thought to be necessary in this instrument alone will no longer be appropriate to three-quarters of the world’s population will be linked. the planet, and lets us almost forget these conditions order to stimulate more growth—is said to support these evolutionary processes. The diversity of information and the amount of data (expressed in the broad acceptance of the process), it economic growth. For, not only is a further technology arising, the use has for a long time been a hopeless challenge to is at the same time a significant proof for the economic So while one recognizes, on the one hand, an injury of which concerns ethical guidelines which have yet humans, so machines which can process data were transformation of the ecosphere into the ecosphere. to human dignity proven through the facts of objec- to be determined, but the development of an envi- developed, which themselves have taken over these tification, the economized ecosphere, on the other ronment is also looming on the horizon, which, if we tasks. The creators of these machines were clever 3 hand, understands people according to a concept of interact with it, we automatically call forth decisions enough to build them such that they could learn to Ostensibly this entire development arises under the “usefulness,” which proposes the goal of the system whose dynamic is of a size that can no longer be pre- draw conclusions from this data prepared for them. auspices of the assurance of growth, and concomitant (i.e., growth) as the aim and purpose of life for the dicted—not least because both engaged entities, AI Undisturbed by technological advances, we are already prosperity—where on the other hand statistics (united consumer. And despite the general recognition of the and human being, can no longer be understood by prepared to make use of rudimentary forms of artificial with the OECD, the IMF, et al.) attest to an ever-greater dignity of human beings as an inviolable property, a simple algorithms. The question of whether the use intelligence—even in order to advise people as they gap between rich and poor, which has already over- life-world constitutes itself which is subordinate to of AI can be ethically justified or not is not raised; it assess and evaluate other people. AI provides support taken the middle class and is starting to damage not mechanisms and forces for which dignity appears to is not the effects (one on another; reactive) that can in the selection of candidates for open positions in only society but also businesses. This is old hat (we be not only completely irrelevant, but contraindicated. be predicted, but rather the cooperation (interaction). the work world, or even in judging people according merely adjust the hat’s size every year): According to And that is an essentially ethical problem. to the probability that they would commit a crime in 4 the future. a study by Oxfam (commissioned by the large Swiss 5 bank Credit Suisse and Forbes Magazine ), in 2017 one Of all the challenges that have “revolutionized” culture The ubiquitous available data produced by everyone is percent of the population managed to secure 82% and society since the industrialization that followed For the year 2025, the IDC (a market monitoring firm) an image of the world we all live in, an image already of the wealth accumulation during that year. The 42 from new technologies (from the conveyor belt to predicts a growth in data worldwide of 163 zetabytes, interpreted. A mechanical brain fed with this data wealthiest people own as much as the entire bottom the atomic bomb and the internet to genetic design), ten times the growth in 2016 (16 zetabytes); the yearly would learn, for example, that the majority of pris- half of the world’s population. As estimated by the the next one should be much larger or, at least, it will growth rate of all data between 2015 and 2025 will be oners belong to a minority group in the population; it Organization for Economic Cooperation and Develop- close in on us much faster. Unlike biotechnology or about 30%. In this, there is a shift in the sources of would realize that the majority of those responsible ment, the damage to growth within the OECD from current forms of processing information (whether from data on the horizon. In 2015, businesses created just for decisions in positions of authority are older, male, this inequality in the distribution of income between personal or genetic data), which are required to be 30% of all accruing data worldwide, so the portion in and white, and it would realize that part-time jobs are

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6 for the most part filled by women. It would also realize might have been­ the father of thought—racist and In a certain respect, this problem has parallels with their measurable reactions to changes in the quality that corruption in the southern hemisphere is much sexist impressions are a first provisional result. There the antagonism between a normative ethics, wherein of relationships. If this step were to work, we could more visible than in the north, and that affluence is a “danger in distortion”—that our collective “being moral action requires metaphysical principles à la then dispense with appeals to convention (religion, and health are, more and more, concentrated among without dignity” which is intimately connected with Kant, and a natural ethics, as proposed, for example, cultures, socially established concepts of morality). It is certain people, etc. The efforts which extend over gen- the economic systems of business will become active by Umberto Eco and expounded through his “solitary quite urgent to engage in such deliberations, especially erations to change these relationships, and the num- as a “genetic inheritance” in development, orienta- Adam.” Presumably, this AI Adam must in the end also against the background of an ecosphere established bers associated with them, can only be interpreted— tion, and use of AIs in the interests of global business. develop an ethics that is grounded in his nature by first by artificial intelligence that, with its decisions in the based on the numbers, the data, and the facts—as a Shouldn’t the development of artificial intelligence be reciprocating the gaze of the other: he would have to future, will make significant contributions to collective mild trend, but in no way can it be read as the norm, accompanied by the attempt to formalize a concept pass a reverse Turing Test (Human Interaction Proof). human life—from the biosphere to the ecosphere to the and certainly not as a meaningful goal for the improve- of dignity, in light of just such a danger, so that this What allows an AI to know whether its correspondent data-sphere. Also for this reason: because the point is ment of these human relationships. If one allows the concept is executed along with this intelligence in its is an AI or a human being? to recognize in time the nascent sociopolitical poten- status quo to have an unmoderated effect on a learn- development (as one of its emanations)? Even before Mechanical cognition, for now, is bounded by the tial of an AI and to reflect on the possibilities of using ing mind, these relationships named above would be an ethics commission created to address the problem assumption of everyday speech. What a neural net- it for civil society; an AI that goes beyond its mere recognized and an impression would arise which we realizes this, but only when it is too late . . . If it is the work really accomplishes, when one says that it can economic impact and is relevant for the improvement would characterize as racist and sexist. case that any civilizing and cultural development is recognize faces, is merely positive-negative compar- of our civilizational and cultural advances. Who is building these artificial intelligences? Certainly oriented to improving the dignity of persons, as one ison of examples: the resemblance of an input signal not publicly run research and development institutes, of its driving forces, and if this type of development with an output signal expressed through the degree Text: Horst Hörtner subject to an ethics commission! Why are these AIs may not be collectively revoked—wouldn’t this project of the agreement. This comparison alone is what the being built? Incorruptible mechanical objectivity be indispensable? neural network accomplishes. It is just as distant from 1 Cf. https://www.ris.bka.gv.at/GeltendeFassung.wxe?Ab- frage=Bundesnormen&Gesetzesnummer=10000308 / recognition (in the sense of an experience which calls June 24, 2018. https://eur-lex.europa.eu/legal-content/ forth a Eureka!) as a light switch is from an epiphany. DE/TXT/?uri=CELEX:12012P/TXT (Charter of Fundamental A systems theory approach designates its regulatory Rights of the European Union) // June 24, 2018. function in order to justify its ethics (independent of 2 The Metaphysics of Morals 3 http://www.wirtschaftslexikon24.com/d/konsument/kon - the necessity for ethical action on the part of individ- sument.htm (June 12, 2018) uals). The U.S. sociologist Talcott Parsons proposes 4 https://www.footprintnetwork.org/( June 12, 2018) four principles as definitive for the existence and 5 Cf. Herman E. Daly “Ecosystem as Subsystem of Macroeco- persistence of every existing or conceivable system: nomy” The First Annual Feast a Lecture, Trinity College, Dublin April 26, 1999 Adaption, Goal Attainment, Integration, Latency 6 mrd.de “Schere zwischen Arm und Reich geht weiter ausein- (Latent Pattern Maintenance), for which he uses an ander” [The gap between rich and poor continues to widen] acronym, AGIL. With A—the ability to react to external 7 https://www.propublica.org/article/machine-bias-risk-as - sessments-in-criminal-sentencing July 12, 2018 conditions which are changing—G—the ability to define 8 Carlo Maria Martini, Umberto Eco, “Woran glaubt, wer nicht and pursue objectives or goals—I—the ability to cre- glaubt” [Belief or Nonbelief?: A Confrontation]; Munich ate cohesion and inclusion—L—the ability to maintain 1999. Eco arrives at the conviction “that there are concepts agreement, fundamental frameworks and patterns that all cultures have in common, and all of which refer to the position of our body in space.” By way of explanation, of value (acceptance and respect), we find here too Eco sketches “a sort of animal-like, solitary Adam” who, for with this acronym that the characteristic traits of a example, attributes his own concept of above and below to prototypical AI are also assembled. In the same way the fact that for him, as a creature who walks upright, it is we conceive of ethics in systems theory as a capacity arduous to go for a long time with his head facing down- ward, whereby the former [above] takes precedence over the for regulation, can we think of “dignity” in terms of latter [below]; who, due to his extremities, has a conception a quality that, for the sake of self-preservation, an of what it means to hit something hard, to penetrate intelligent environment must exhibit and/or cultivate something soft or fluid; who draws conclusions on the basis as regulative principle of the interaction (with human of his own physical constitution as to what it means to feel pleasure or pain, to be sad or to experience fear—and systems of action)? who derives from them, for example, “universal concepts One prerequisite for this I would locate in a concept of coercion.” On the basis of this instinctive repertoire of of dignity as something given by nature, and describ- willingness and unwillingness, this Adam acts in accordance able in terms of natural science—an idea that, in fact, with an ethically dimensioned concept of what it means to not do unto others what he would not want done to himself is not all that foreign to neuroscience. Hints of this “when the Other comes into play.” It is the view of the

, David Quayola, Memo Akten Memo Quayola, , David Forms reveal themselves in observations of newborns and others that defines and forms him.

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Open Futurelab Swarm Arena Swarm Arena is the latest outcome of joint research real-time duplication of the game or competition. The As in past years, the Open Futurelab means a stage collaborations are going to be positioned next to each efforts by the Ars Electronica Futurelab and Japanese bots offer the potential for bigger swarms, moving within the festival, where projects and project part- other in one spot, displaying the variety of projects telecommunications giant NTT. The collaboration beyond orchestrated formations of single entities to ners of the Ars Electronica Futurelab are presented. and wide range of activities going on at the Futurelab started in 2017 with the aim of working on using create multi-cellular robotic organisms. Ground and Selected Industrial, educational, artistic and research in recent months. unmanned aerial or ground vehicles (UAVs and UGVs) aerial bots act as cells or physical (kilo-)bits of the ani- as a means of communication. While the first proj- mated whole. In their vision to “Animate Japan 2020 ect, Sky Compass, and its follow-up Swarm Compass Together”, the Ars Electronica Futurelab and NTT are focused mainly on navigation, public signage, facili- focusing especially on audience participation with the tation of traffic and swarm intelligence, Swarm Arena multi-cellular organism. How could a stadium full of now shifts the research question to creating an entirely spectators effectively interact with a large number new audience experience at (sporting) events. of bots, moving together as one? The synchronized A first demonstration was shown at the NTT R&D movement of the robots forming an organism also Spaxels Research Initiative Forum 2018 in Musashino, Tokyo, giving an insight opens up research questions in the field of spatiotem- into the possibilities through a physical demonstration poral visual design under severe logistical constraints— What started last year at the Ars Electronica Festival­ Besides the ongoing existing partnerships, new mem- using both drones and ground bots. This combination an area in which the Futurelab, with its successful has grown to activities with partners that led to a vari- bers have joined the Spaxels Research Initiative (SRI): allows for a new medium of (artistic) expression that Spaxels project, can draw on ample experience. ety of perspectives on Swarms, from the introduction We’re happy to welcome the world leader in produc- is not bound by any canvas, but rather expands seam- of a design tool for Swarms, Swarm3D, at the Autodesk tion of firefighter equipment, the Austrian company lessly from earth to sky. University, to a presentation of an entirely new het- Rosenbauer, to the SRI and also welcome MAXON, Swarm Arena encompasses several concepts to erogeneous Swarm of UAVs and UGVs performing renowned worldwide for their flagship product Cin- enhance conventional sporting events. The idea of together at the NTT-R&D-Forum in Tokyo, earlier this ema4D. Both new members’ project collaborations the Augmented Arena suggests using ground bots year. Growing from a concept to a first incarnation of will be introduced in detail during the Ars Electronica to display measurements, metrics or outcomes, thus SwarmOS after several years of development, a pre- Festival 2018. visualizing otherwise invisible sports big data right at alpha of SwarmOS is now used by the NTT R&D-Group the sports arena. Its counterpart, the Virtual Arena, for its research and development. Text: Horst Hörtner proposes expanding the viewing experience to remote locations, creatively reimagining Public Viewing. Using swarm bots, athletes and events can be visually represented on moving displays to create a digital, Tom Mesic Tom NTT Speakers of the Spaxels Research Initiative

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SwarmOS

In the past few years, the Spaxels project kept pushing for autonomous vehicles? What if this control could the boundaries of how choreographed drone swarms range from strict choreographies to highly responsive could advance real-time spatial visual expression. In interactive scenarios? And what if this swarm was not its wake, the world has seen increasingly more players even limited to one model or type of vehicle per mis- develop their own swarm systems and increase the sion? Under the title SwarmOS, the Spaxels team has swarm scale to mind-boggling numbers. At the same started development on an ecosystem of tools that time, more and more vehicle manufacturers are fol- will allow precisely that. Ultimately, a SwarmOS user lowing their particular vision by designing specialized will be able to take their drones of choice, attach a spe- UAVs: Fast and light, massive and robust, or equipped cial device to them and, with a few configuration steps, with high computing power. Finally, there is a whole fly them in an animation, a specialized mission (from world of ground vehicles that offers a completely dif- reconnaissance to rescue), or an interactive ­scenario ferent set of uses and capabilities. What if we could of their design.

find a way to control swarms of not only special, lim- Schaumburg-Lippe Raphael ited sets of drone models, but virtually anything that supports one of the open communication standards Text: Peter Holzkorn SwarmPhysics—Dynamic Vehicle Simulation

Birds flock, much like fish gather in schools in order there is a change, an accurate simulation is imperative to overwhelm and confuse predators. This behavior for visualizing and predicting the swarm’s behavior. To is aesthetically pleasing to watch, since our percep- achieve this, the Spaxels Research Initiative is work- tion looks for patterns in the constant flux of form. ing in conjunction with its partners to develop custom However, the purpose of a swarm of vehicles is multi­ tools for facilitating the physically accurate simulation faceted in comparison. Not only must it be able to of real-world robotic agents in a swarm, in order to flock in the abstract manner we see in nature with- make the digital creation of missions or shows easier, out individual agents colliding, it must also be able safer and more reliable. to form concise, recognizable formations for humans While many 3-D software environments include phys- to understand. This spectrum of capabilities opens ics engines, most are designed to create stunning a new field spanning from practical applications to visual effects but offer limited capability concerning artistic expression. the fusion of vehicle behavior and flocking. Under One of the chief challenges of designing and planning the title SwarmPhysics, Maxon is collaborating – as a mission or show is the gap in accuracy between a a member of the Spaxels Research Initiative – with virtual environment like a 3-D software and the laws the Ars Electronica Futurelab. The goal is to create a of the physical world. Creating a mission or show that software environment and workflow that allows the is collision-free, aesthetically pleasing and/or able to creation, simulation and performance of multicellular perform a specific task requires a deep understanding robotic organisms, i.e. swarms consisting of an array of the physical vehicles involved. Since it isn’t feasible of vehicles. to go out and test this in the real world every time Text: Patrick Berger Martin Hieslmair

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Ars Electronica Futurelab AIWA Dilate How could one experience a fully-sentient artificial Dilate is an interactive wearable that responds to Academy 2018 intelligence? AIWA is an artwork created to push human data; dilating, pulsating and expanding while initial boundaries and current expectations of machine on a human body. Dilate uses symbiosis as a forefront The Ars Electronica Futurelab Academy, a part of the discipline decontamination and group ideation to an learning within the commercial market. AIWA is a for exploration within wearable technology. Audiences Futurelab Education Initiative, was created to support exploration of art-driven research and its actualiza- speculative project exploring human interaction with activate this wearable through their interaction with students and educators from international partner tion in several very different projects that can be seen, a consciously aware artificial intelligence. it, creating an emotional response. universities to engage in transdisciplinary practice. heard and participated in at this year’s festival. Futurelab researchers act as mentors and collabora- At the same time, a new collaboration was forged with Undergraduate Bachelor of Creative Industries: Undergraduate Bachelor of Creative Industries: Amy Campbell (AU), Thomas Stig (AU), El Tapi (MZ) Ruth Hawkins (AU), Daniel Kit Wei Tan (MY) tors, supporting creative exchange with the Academy the Media Lab Helsinki, part of Aalto University, itself Undergraduate Bachelor of Fine Arts: Oscar Connor (NZ/AU), Undergraduate Bachelor of Fine Arts: Reina Takeuchi (AU) participants. Participants come from a range of back- a vision of interdisciplinary futures. A small group Nicholas Dunning (AU), Merryn Trescott (AU) Honors Bachelor of Design: Jess Greentree (AU), Peter Lloyd (AU), grounds; art and design through to science, engineer- of graduate students experimented with the artistic Bachelor of Games and Interactive Entertainment: Jeremy Tom Long (AU), Steven O’Hanlon-Rose (AU), Joash Teo (AU) ing and technology. Since 2012, collaborations with potential of bacterial cellulose and drew inspiration Boulton (AU) Masters Creative Industries by Research: Quinty Pinxit-Gregg (AU) Honors Bachelor of Design: Salvatore Fazio (AU), Zhiheng He (CN) https://qut.to/ars2018 renowned universities across the globe have resulted from internal cross-fertilization with other university Honors Bachelor of Design: Salvatore Fazio (AU), Zhiheng He (CN) in a diversity of exhibits and performances being pre- departments (Bioproducts and Biosystems; Communi- Masters Creative Industries by Research: Quinty Pinxit-Gregg (AU) sented at the Ars Electronica Festival. Some of these cations and Networking), as well as focused workshop External Advisor: Maria José Sanchez Varela Barajas (MX) Philos- project outcomes have gone on to win prestigious sessions with Futurelab researchers. opher, Researcher; Marvin Chancán (PE) (PhD Computer Science) AI & Deep Learning. awards and accelerated the artists’ research and prac- The two collaborations could hardly be more differ- https://qut.to/ars2018 tice trajectories. ent in scale, distance, structure and curricular con- In 2018, we have been working with two partners from text; together, they sketch out modes of learning and opposite sides of the world: establishing creative practices outside of traditional Long-time collaborator Queensland University of templates. Technology joined the Futurelab again in a large-scale Klangschlange (AKA Soundline: format that saw a Futurelab researcher and curators https://ars.electronica.art/futurelab/en/initiative/futurelab-ed- ucation-initiative what are you waiting for?) working with experienced QUT staff to facilitate a Text: Peter Holzkorn (Ars Electronica Futurelab), Lubi Thomas & refined process that led a group of 30 students from

Kristefan Minski (Ars Electronica Australia) He Zhiheng Klangschlange (AKA Soundline) is a roaming perfor- AIWA mance that activates unsuspecting crowds in queues. Performers permeate these sites with playful respon- sive objects that invite audiences to become co-pro- ducers in a spontaneous performance. Klangschlange Statement from Queensland University is a playful, social sonic intervention investigating future entertainment and technologies to facilitate a of Technology state of group Flow.

The Ars Electronica Futurelab Academy at the QUT Educators & Artists: Steph Hutchison & Greg Jenkins Undergraduate Bachelor of Creative Industries: Romaine Quessaud (FR) Queensland University of Technology affords students Technologist: Matt Strachan Ars Electronica Australia: Lubi Thomas & Kristefan Minski Bachelor of Entertainment Industries: Patrick Cenita (AU) the opportunity to situate their emergent practice Ars Electronica Futurelab: Horst Hörtner & Peter Holzkorn Undergraduate Bachelor of Fine Arts: Georgia Bradford (AU), Quinty Pinxit-Gregg within a rich transdisciplinary context. Working with https://qut.to/ars2018 Alexa Dewar (AU), Lily Douad (AU), James Dwyer, Morgan Hill (AU), Klangschlange (AKA Soundline: what are you waiting for?) peers, researchers, industry, and artists, they work Erin O’Rourke (AU), Matilda Skelhorn (AU), Reina Takeuchi (AU) Honors Bachelor of Design: Cassidy Cloupet (AU), James Dwyer (AU), through stages of ideation, experimentation, proto- Tom Long, Steven O’Hanlon-Rose, Rani Shanks, Jess Greentree (AU), typing, pitching and presenting media art works. The Kathryn Harvey (AU), William Richardson-Davis (AU) participant-led nature of the Ars Electronica Futurelab Masters Creative Industries by Research: Quinty Pinxit-Gregg (AU), Academy @ QUT creates space for students to be Jayden Grogan (AU) PhD: Andy Ward (AU) (Creative Practice/Music) co-leaders and co-creators, driving their own nascent External Advisor: Murray King (AU) Creative Technologist practices while being inspired, guided and mentored https://qut.to/ars2018 by a transdisciplinary team. The dynamism and cul- ture of the Ars Electronica Futurelab Academy enables students to make the transition from highly structured Peter Lloyd Peter learning environments to professional practice. Greg Jenkins Dilate 360 361 ARS ELECTRONICA / Ars Electronica Futurelab

Statement from Prof Lily Diaz-Kommonen, ORI*GEN

Media Lab Helsinki The origins of life, and the lifeforms that squirmed on the micro-particles, consuming and bio-converting and flailed their way from the depths of the ocean endless consumer waste. The accumulated throw- In 2018 the Systems of Representation course began to the land’s surface, are the by-product of the Great away lifestyle of the Anthropocene led to the biopoesis to take a more hybrid-labs approach. We focused on Oxygenation Catastrophe that befell the planet due of foldamers en masse. combining media design skills and knowledge about to a build-up of the waste product of photosynthesis. A selection of foldamers evolved into collective com- the cultural and social basis of artefacts with 3D fab- New waste has bred new life, the genesis of new life munal entities that collapse and expand with the rication technologies. We explored the topic of Vesti- forms ‘challenging binary categories between nature ocean’s continual movements. giality and Evolution in Human Fashion and pondered and culture.’ They became known as monsters. Their pulsating the possibility of creating audio transmission devices The ORI*gen rose from the primordial polymeric forms expand and contract as if breathing into con- that provide the type of functionality to the human oceans at the dawning of the Plastisphere. Their home sciousness while releasing their cries of anger and ear that other primates possess and which is conjec- was the long-dead remains of Australia’s Great ­Barrier lament that their last common ancestors were a PET tured to have been part of our biological inheritance. Reef. In the ocean’s darkness, bacterial mutations fed bottle and a plastic fork. We investigated the creative potential of bio-cellulose and developed concepts and lightweight prototypes of headphone and audio transmission devices. Aalto University, Institutions: Aalto University, School of Arts, About ORI*gen Design and Architecture, Department of Media/Media Lab; School of Chemical Engineering, Department of Bioproducts and Biosystems, Biobased Colloids and Materials (BiCMat) research ORI*gen is a post-anthropocentric narrative that group; School of Electrical Engineering, Department of Commu- explores the role of the natural language of folding. nications and Networking. It signifies the genesis of a new species in oribotic Aalto University, People: Lily Díaz-Kommonen, Orlando Rojas, Xiao Yu, Luiz Garcia Greca, Jannika Lehtinen, Solomon Emba- research. This work combines research into complex frash, Niklas Pöllönen, Jason Selvarajan, Philip Dean. irregular origami geometry, customised 3D printing Ars Electronica Futurelab: Horst Hörtner, Maria Pfeifer and technology and soft-robotics. Preliminary prototypes © Matthew Gardiner © Matthew Peter Holzkorn were presented at the 2016 festival in the ORI*lab. The http://sysrep.aalto.fi

Lily Diaz-Kommonen Lily work is indicative of new aesthetic directions afforded by the practice-oriented inventions of Matthew Andrea Mancianti (IT) Gardiner and the team at the Ars Electronica Futurelab. The living threshold—Blindphones Funded through the FWF PEEK Program, Program-Management: Headphones, blindfolds, blindphones...? Dr. Eugen Banauch. Text: Matthew Gardiner, Rachel Hanlon Blindphones is an experimental prototype for an alternative low-tech head-mounted display, which enhances listening by impairing sight. Inspired by the structures of plants, and employing sustainable, bio-based materials such as bacterial cellulose, it immerses the user in a world of music and choreo- graphed eerie lights. Drawing from the psychedelic tradition of early VR art in this sonic piece, like in a sensory deprivation tank, the body floats weightlessly in a dark, quiet environment, and the mind is free to shift from a meditative state to a hallucinatory one.

Institutions: Aalto University, School of Arts, Design and Archi- tecture, Department of Media/MediaLab and the School of Chemical Engineering, Department of Bioproducts and Biosystems, Biobased Colloids and Materials research group, Aalto Studios, Aalto FabLab. Art and science collaborators: Prof. Lily Dìaz-Kommonen, Prof. Orlando Rojas, Prof. Philip Dean, The Departure. Depiction of the first migration of the ORI*gen Artetradium-Lucidium. of the ORI*gen Artetradium-Lucidium. The Departure. Depiction of the first migration Noah Elhardt Noah Luiz Greca, Janika Lehtonen, Solomon Embafrash. Others: Niklas Pöllönen (CAD modelling assistant), Philip Hector (design ­advisor), Joasia Cieslak (musician). 362 www.andreamancianti.com/blindphones 363 ARS ELECTRONICA / Ars Electronica Futurelab

Immersify — cutting-edge tools for the next generation of immersive media

Virtual Reality (VR) has what it takes to be the next big to higher resolutions, frame rates and constantly game-changer in the media sector. In stark contrast improving image formats. Second, media players and to video, TV and the movies, VR applications promise formats should be able to support as many different experiences that are not only more intense but, above technical environments and devices as possible. Third, all, interactive and individual too. Be that as it may, creative individuals working with high-quality videos, a considerable amount of R&D work still needs to be CGI in 2D and 3D, as well as interactive elements ought done to haul VR out of the niches it’s been confined to have the option of combining them with each other to and launch it on its way to a huge consumer mar- so that users are in a position to enjoy totally cus- ket share. That’s precisely the mission of Immersify, tomized experiences. Fourth, Immersify is definitely a European R&D consortium made up of the follow- not to be developed behind closed doors; rather, the ing partners: PSNC – Poznan Supercomputing and intention is to present the ongoing progress of R&D Networking Center (Poland), Spin Digital Video Tech- in the form of demos at the Ars Electronica Festival nologies GmbH (Germany), Ars Electronica Futurelab and the Marché du Film in Cannes, where specially (Austria), Marché du Film—Festival de Cannes (France) developed content and innovative market-oriented and Visualization Center C (Sweden). Immersify was products will showcase Immersify’s creative and set up in October 2017 and runs until March 2020. technical capabilities. Funding is provided by the EU’s Horizon 2020 program. Immersify is concentrating on four challenges. First of This project has received funding from the European Union’s all, what’s needed is a new technology for the video Horizon 2020 research and innovation programme under grant

compression of data, which is virtually exploding due agreement No 7620799 Pöll Johannes

Lazarus

The critically acclaimed musical by Enda Walsh, best (English with German dialogue), the Landestheater­ known for its music and lyrics by David Bowie, was Linz engaged in a special cooperation with the first performed in New York in late 2015, shortly before Ars Electronica Futurelab, in order to utilize media Bowie’s death, as one of his last works completed. The art to stage the material in a special contemporary piece is inspired by (and represents a sequel to) the appearance. Most notably, both stage design and Sci-Fi novel The Man Who Fell to Earth (1963) by Wal- media art complement each other in applying reduced ter Tevis, in whose 1976 movie adaption of the same and simplistic design to amplify the protagonist’s name Bowie starred as the humanoid extraterrestrial disruption and agony as he struggles to realize the protagonist Newton, on his mission to take water ramifications of his mission’s failure. The outcome of back to his drying-up planet. However, he gets stuck this venture will premiere on September 27th, 2018, and diverted by earthly vice, and eventually fails. The and will subsequently be performed 16 more times narrative of Lazarus picks up the loose endings of the throughout the Season 2018/2019 in the Großer Saal The Man Who Fell to Earth and tells of Newton’s sub- at Musiktheater Linz. sequent despair, alienation, and ultimate redemption. For the musical’s adaption for the Musiktheater Linz Text: Roland Aigner Robert Bauernhansl Robert Prima Materia, NOHlab

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Ars Electronica Japan as a Creative Ars Electronica Tokyo Initiative and Catalyst for Culture and Innovation Future Innovators Summit Tokyo

Ars Electronica Japan is a special division within the Japan’s biggest advertising communication company, Ars Electronica Futurelab, which puts cultural programs, to create a mission-driven community for a better consulting and innovative research into practice for Tokyo after 2020. The very first Future Innovators Japan. Historically, Ars Electronica and Japanese artists Summit Tokyo at Tokyo Midtown in May 2018 is sym- have collaborated on creative projects for the annual bolic of this aim. The Ars Electronica Tokyo Initiative Ars Electronica Festival, Ars Electronica Center and with Hakuhodo aims to create not only a think-tank, Export exhibitions. What is more, many Japanese cre- but also a “do-tank” for social innovation inspired in ators have been awarded the Prix Ars Electronica in the Tokyo. In another series of collaborative projects, Ars past. The Ars Electronica ecosystem has proven to be Electronica Japan has conducted joint research proj- fertile ground for creating future dialogues between ects based on Japan’s preparation for the Olympics art, technology and Japanese society. Ever since Emiko 2020 in Tokyo. The NTT Swarm Arena Project is one of Tsukuru Ozaki Tsukuru Ogawa and Hideaki Ogawa joined the Ars Electron- them: Together with the Japanese Telecommunication ica team in 2007, they have been creating dynamic Company NTT, Ars Electronica Japan aims to create a interactions in the import and export of creative pro- new kind of sports viewing experience by developing The Ars Electronica Tokyo Initiative (AETI) is a mis- # DEATH-LIFE in Tokyo: What is life and death in the grams between Japan and Linz. For instance, the idea a swarm display bots system. Another example is the sion-driven community of innovative people centered city with the fastest aging society? of a Pop-Up Ars Electronica aims to bring the feeling Future Project, in collaboration with Japan’s largest around Ars Electronica and Hakuhodo. As a creative # TECH-SKIN in Tokyo: What would be the future of of Ars Electronica to Japan, as well as to create new public broadcasting organization, NHK. It is a research group, AETI is collaborating on ideation of and for a fashion and body borne in a city embracing the world’s platforms for discussing future society together with project to explore creative use of 8K, the next genera- future society, as well as the actual implementation of most advanced technology? artists and citizens. As of 2018, unique programs of tion of ultra-high definition TV technology. the generated ideas. We carry out various workshops, # PUBLIC-PRIVATE in Tokyo: What could be the future Pop-Up Ars Electronica are being realized through- Thus, Ars Electronica Japan is forming a creative events and exhibitions with diverse talents from all relations of individuals and public in a mega-city with out the year, such as School of the Future at Tokyo ecosystem for shaping future society together with over the world, and also engage in collaborations for no common space? Midtown in Tokyo or Ars Electronica in the Knowledge Japanese creators, educational public institutes and private sector innovations. The mission “What can Complementing the discussions, a temporary exhibi- Capital in Osaka. Based on its considerable creative industries. we do to make a better future Tokyo and Japanese tion of the participating innovator’s projects and com- network, Ars Electronica collaborates with Hakuhodo, Text: Hideaki Ogawa society?” stands at the heart of AETI’s activities. The panies’ prototypes of the future was set up to inspire very first Future Innovators Summit Tokyo at Tokyo and guide the participants. At the final presentation, Midtown is symbolic of this aim. each group presented their Creative Question: The Future Innovators Summit (FIS) is a hands-on # DEATH-LIFE in Tokyo: How can we carefully co-craft discussion program, which has been developed jointly DEATH-LIFE? by Ars Electronica and Hakuhodo. Ever since 2014, FIS # TECH-SKIN in Tokyo: How can tech skin foster has served as an interdisciplinary think tank at the Ars ­kinship with all living things in a future where human Electronica Festival in Linz, Austria, with the purpose values have shifted? of generating Creative Questions about the future, # PUBLIC-PRIVATE in Tokyo: How can we lay out the shaped by innovators from all over the world. Future “blank” that inspired the public to accept each other Innovators represent a wide variety of different back- like a cat? grounds and consist of experts such as artists, design- ers, scientists, technologists, activists, entrepreneurs, Based on the questions, processes and discussions philosophers and more. For FIS Tokyo, the concept was this year, FIS Tokyo will continue to create missions extended to imagine “Tokyo as a Laboratory for our and actions for Tokyo at Tokyo Midtown every year Future.” until 2020. We aim to create not only a think-tank, but To this end, participants joined round-table discus- also a “do-tank” for social innovation inspired in Tokyo. sions to discuss one of the three themes inspired by and relevant to Tokyo: Text: Hideaki Ogawa, Kazuko Tanaka, Rena Tanaka Tokyo Midtown Midtown Tokyo SWITCH

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Beyond the Frame: 8K Future Project Virtual Anatomy Beyond the Frame: 8K Future Project offers a glimpse Finally, mimesis by Eiji Tanigawa impressively explores Johannes Kepler University (JKU) plans to build a Virtual into the joint research project between the Ars aesthetics of color in 8K technology by focusing on the Anatomy room by 2021 for the new campus building Electronica Futurelab and NHK, Japan’s largest pub- sense of materials in the same color. of the Faculty of Medicine, modeled after Deep Space lic broadcasting organization. They joined forces in 8K of the Ars Electronica Center. To that effect, the 2017 to examine how 8K, the next generation of ultra- NHK (Japan Broadcasting Corporation) (JP), Ars Electronica Ars Electronica Futurelab, JKU and Siemens Healthcare high definition TV technology, can be incorporated Futurelab (AT) have started devising a joint research project for the Text: Hideaki Ogawa into daily life. The innovative broadcasting giant had planning, construction, procurement, installation, and Martin Hieslmair already started creating and using 8K footage on a commissioning of the hardware and software infra- trial basis a year earlier, providing a resolution 16 times structure. The common aim is to create a groundbreak- of ­Siemens Healthcare, have already been put into higher than Hi-Vision to its audience. ing new space for mediation and interaction, a black practice at Ars Electronica’s Deep Space 8K and should The research focuses on several key scenarios that box, in the context of medical data visualization. ideally find their continuation at the Virtual Anatomy reexamine modes of interaction with television con- The main usage scenario of the virtual anatomy room room of JKU. The Cinematic Rendering Software, the tent, ranging from a speculative high-resolution news is to visualize medical volume data (especially MR Deep Space Infrastructure and the teaching require- program, novel interfaces or the employment of ambi- and CT) as photorealistically and vividly as possible ments of the Faculty of Medicine are to be merged into ent media to a fresh approach to public viewing. The for educational purposes. University lectures in anat- a new and unique teaching room in this research and reflection upon incorporating 8K into the audience’s omy, drawing on the Cinematic Rendering software development project. lives aims to help NHK tackle the biggest challenges to a widespread use of high-resolution in public broad- casting. At the 2018 Ars Electronica Festival, NHK and the Augmented Intelligence NHK, Koichiro Tsujikawa Koichiro NHK, Ars Electronica Futurelab present three of NHK’s original 8K contents at Deep Space 8K. Tokyo—The Ars Electronica Futurelab conceived and assembled row, the Futurelab has produced an exhibition for this Luminescent Megacity takes the audience on a flight the exhibition pavilion at the headquarters of SAP SE striking venue under its current theme: Augmented in 8K over the megacity at nighttime, providing spec- in Walldorf, Germany in 2012. For the third time in a Intelligence. tacular views in astounding resolution. The stop-mo- The exhibition, featuring an array of installations tion animated DOMO WORLD invites viewers to dis- developed in-house at the Futurelab, and other cover a complex, miniature world, where Domo, NHK’s selected works of media art, is a reflection on tech- official mascot, bustles around the screen performing nological progress’ impact on our everyday life. Aug- various activities. The animation consists of 16 sepa- mented reality comes into play in a timeline, which rate Hi-Vision scene shots, stitched together to create graphically depicts the company’s history in the con- an 8K experience full of details and wonder. text of global events, and technological developments. Lastly, 8K TECHNE engulfs the audience in an exper- The Intelligent Enterprise exhibit deploys virtual real-

imental TV program. To create the series of unique TYO NHK, ity to enable visitors to potentially visualize a company high-resolution videos, five artists were asked to of the future. express themselves artistically in 8K: Fuyu Arai used “Bittercoin” by Martín Nadal & César Escudero Anda- 1024 human-like figurines and individual spot lights luz, and “Learning to See: Hello World!” by Memo to create the spatial animation 1024. Koki Sone turned Akten, are just two of many artworks that illuminate natural stones into planets and lets the viewers travel the theme on another level. Through their immedi- through a universe made of ordinary objects in Cosmos ate aesthetic appearance, they create a free space for under Foot. In Haruka Furuya’s The Window, seven reflection, and invite those beholding them to engage actors perform behind a frosted glass and transform in a constructive debate about human-machine inter- the TV screen into a window from the performer to the play, now and in the future. audience. Koichiro Tsujikawa plays with video feedback Text: Peter Freudling, Stefan Mittlböck-Jungwirth-Fohringer in 88888888•••K, showing endless loop movies of a Otto SaxingerOtto camera pointed at its own playback video monitor. NHK

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Ars Electronica Solutions

Ars Electronica Solutions conceives, creates and implements interactive worlds of experience as visionary installations. We develop creative, individualized solutions in the form of interactive products and services for exhibitions, brand lands, trade shows, events, and in the urban development field. Whatever your needs—single Touch applications or an entire exhibition, leasing reliable products or the creation of a bold prototype; whatever the occasion—a trade fair, a Smart City workshop, a showroom or a whole museum—Ars Electronica Solutions

has the expertise and experience it takes to do a superb job! Moser Harald

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PROJECTS We delight in smart design, demand the impossible, and producing elaborate exhibitions. Our ­clients ESA: Experience and nurture playfulness. Our projects make the unat- include major institutions such as the European Φ tainable come true. Regardless of what message you Space Agency and the EU Presidency, long-established Particularly noteworthy among our recent projects is want to send in today’s world, we can get it across in brands like Sacher and Umdasch Group, municipalities the Φ-Experience, an interactive exhibition created digital media. Our solutions are aesthetically sophis- including Tel Aviv and Berlin, and such private-sector for the European Space Agency’s facility in Frascati, ticated and creatively extraordinary; they encourage heavyweights as Fronius, Palfinger, Primetals, voes- Italy. The Φ-Experience presents ESA’s mission and its hands-on exploration. We offer digital installations talpine, BASF, Liebherr and the Industrial Association vision in a way that is understandable by the general ranging from small-scale highlights to ­conceptioneering of the State of Upper Austria. public. Four installations feature a variety of scenarios elaborating on satellites, Earth science data, research and earth observation. A highlight of this dramatic exhibit is the Half-Dome Globe, a projection that is impressive in both its content and its interface. Users operate the globe by means of a crystal ball measur-

ing 20 centimeters in diameter that emits colored Electronica Ars light to indicate its status. Two touch displays make it possible to navigate through the different layers explaining the dynamics on our planet. This includes time series allowing to move back and forth in time or to overlay information layers. In the Control Room, visitors get a behind-the-scenes look at ESA. Space travel enthusiasts can find out about all of ESA’s mis- sions, how satellites are launched and operated and EU Council Presidency, © Ars Electronica © Ars Presidency, Council EU on the entire lifecycle of a satellite. A three-dimen- sional satellite model provides technical descriptions, innovative inventions are presented, and a complete satellite launch can be recreated. Rounding out this installation are the Map Room, featuring various data Pietravalle Mario visualizations (temperature, tectonics, radiology) on an elevation model, and the News Room, which pro- vides accounts of the latest developments. Not only was Ars Electronica Solutions part of this project from its very inception; we also played a key role in the execution of the sound & light concept that makes this exhibition such a special experience. Rupert

Sacher, © Florian Voggeneder © Florian Sacher, Huber’s sound design purposely gives each room its own tonality. Plus, if multiple groups are touring the space at the same time, these sounds harmonize with each other to produce an extraordinary soundscape.

The Φ-Experience will be officially opened in Frascati, Moser Harald Italy on 27 September 2018 on the occasion of the 50th anniversary of the European Space Agencies research centre ESRIN. Sacher, © Florian Voggeneder © Florian Sacher,

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EXHIBITIONS

Many of our commissions require us to produce ­exhibitions. We conceive and execute interactive installations and participative formats for many dif- ferent purposes, featuring a wide variety of content. Deploying our didactic experience and creative spirit, we configure amazing worlds in which visitors immerse themselves via identification and participation. To carry out these assignments, we implement the most Dazwischen, © Ars Electronica Ars © Dazwischen, innovative communications trends and the latest © Umdasch Sesquicentennial, Umdasch technologies. Our creative endeavors follow through on the artistic approach of Ars Electronica. Umdasch: Two Pavilions for an Anniversary

This comprehensive package convinced Umdasch, our over the past century and a half—from the story of associate of long standing, to venture out beyond the how this enterprise was founded and the personal core business of retailing and take the plunge with an experiences of employees all the way to a behind-the- exhibition. We worked together to design a show set scenes look at the construction of the world’s tallest in Vienna’s Weltmuseum to celebrate the company’s building. The second pavilion is designed to consider sesquicentennial. In two pavilions, Umdasch pre- the fascinating prospects of humankind’s potential sented itself as a trendsetter over the past 150 years “futures.” Thematically oriented on four megatrends— and as a global player confronting the challenges Energy & Resources, Urbanization, Consumption, and that face our society with vision and responsibility.. the Future of Work—a dome-like projection delivers The pavilion of the present and the past focuses on enthralling insights into futuristic necessities and the changes that Umdasch’s world has gone through possibilities.

Audioversum, © MED-EL Audioversum, © DSM Museum, Spy German Dazwischen Occurrences in Linz from 1918 to 1938—an audio exhibition

Exactly 100 years ago, the end of the Danube monarchy be guessed. Speakers announce historic events and in Austria led to the foundation of the First Republic. the political situation is discussed in niches. Texts Twenty years later the “Anschluss” to the National and images also provide interesting background infor- Socialist German Reich took place. An audio exhibi- mation and combine with what you hear to create a tion in public space commemorates these events and complex overall picture. The project was supervised by the period between 1918 and 1938. The Linz Cultural the Archive of the City of Linz. The audio plays were Directorate, the Linz City Archive and Ars Electronica reconstructed by the writer Walter Kohl according to Solutions create an extraordinary audio world that historical reports and staged by theater@work. conveys life, social and economic circumstances, and Kulturdirektion Linz the political situation in Linz between two world wars. Archiv der Stadt Linz Parlament, Electronica Ars © AG © Palfinger World, Palfinger By actively exploring this exhibition in public space, Walter Kohl scenes of everyday life at that time become audible by theater@work means of different sound reinforcement techniques. Ars Electronica Solutions Evangelische Pfarrgemeinde Linz Innere Stadt Attentive visitors and curious passers-by will be able Buchhandlung Thalia Linz to listen to conversations whose origin can often only Anton Bruckner Privatuniversität

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TRADE SHOWS

Ars Electronica Solutions’ portfolio includes an so they can also be used after the show is over at a increasing number of trade show stands produced corporate headquarters, an event or other formats. in recent years—from classic presentation set- And experts in this field have been duly impressed. tings to interactive worlds of experience. The well- The stand that Ars Electronica Solutions created for thought-out use of innovative technology set in an Primetals Technologies’ appearance at METEC 2015 eye-catching architectural package and endowed with garnered Ars Electronica Solutions a 2016 CAESAR in a convincing storyline combine to create a unique the Trade Show Architecture + POS category as well attraction. Moreover, these stands are substantively as a 2017 Golden AUSTRIACUS in POS-Trade Show and architecturally designed with modularity in mind, Architecture. Fronius Booth, © Fronius Booth, Fronius Fronius Booth, © Fronius Booth, Fronius Electronica © Ars Booth, Fronius BASF, © Ars Electronica © Ars BASF, © C26 METEC, Fronius: Arc of Light & Weld Cube

Fronius, a global player in welding, photovoltaic and of media and architecture. Beneath the arc of light is battery charging technology, commissioned us to come the WeldCube, a physical cube in which the streams of up with an extraordinary trade show stand thought out digital data from the individual welding stations flow down to the finest detail. together. Integrated into the cube are picture screens An impressive arc of light is the trade show stand’s that portray the object in a figurative sense as an intel- eye-catching centerpiece symbolizing the welding ligent organism. The stand architecture radiating out ­process per se. The light phenomena inherent in weld- from the arc of light takes the form of concentric cir- ing are captured at the live welding stations and sent cle segments, and provides individualized settings for to the arc light installation, where they are visually communication, product presentation, automation, METEC, © C26 METEC, © C26 METEC, and acoustically reinforced and accentuated by means and live welding.

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PRODUCTS

We scrutinize and tinker, think and create, design and a prototype and ultimately to an innovative product. test. Sometimes with such outstanding success that The various interfaces we build into our products it’s immediately evident the results are suited to man- are intentionally futuristic—direct communication ifold applications. between the human brain and a computer, inter­ That’s how the development of prototypes can lead weaving real and virtual scenarios, and photos at to products that can be customized to a client’s such high resolution that whoever sees them gets the specific situation and needs. And that closes the feeling that they’re not just a spectator; they’re right process chain from idea and vision to the development of in the middle of the action. voestalpine,© Electronica Ars

voestalpine: Mixed Reality Drone Race Performance

An extraordinary spectacle was the highlight of the up with live images delivered by drones whose flight groundbreaking ceremony for the world’s most modern paths demarcated the actual dimensions of the future stainless steel work in Kapfenberg, Austria. In order facility. The video and the drone footage were mixed to get across the incredible spatial dimensions of this and synched live and presented to the audience on plant and the state-of-the-art digitization and auto- site on a jumbo-size LED screen—dynamically interwo- mation of the production processes that will go on ven into a futuristic blend of speed, sound and mixed inside it, we conceived a performance starring racing reality. This performance was the spectacular opening drones and staged it before an audience of VIPs in act for the actual groundbreaking ceremony, which fol- business and government. lowed immediately. It was a truly memorable sneak We presented a pre-produced mixed reality video preview of the world’s most modern steel mill, and the Brain Computer Interface, © g.tec © Interface, Computer Brain

Gigapixel, © Ars Electronica Ars © Gigapixel, that brings the steel mill to life in 3-D, and teamed it first one to be built in Europe in 40 years.

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BRAIN COMPUTER INTERFACE GIGAPIXEL VIEWER

Touch interface was yesterday’s news. Modern users Graphic material is fed into the Gigapixel Viewer—for control devices with their brain! Via a brain-computer instance, a high-resolution photo of a city, a landscape, interface (BCI), the brain communicates “directly” a work of art, or any other richly detailed object. Due with a computer interface, and this imparts a magical to the viewer’s extremely high resolution, the image touch to a wide array of applications. Typing in texts can be viewed as a whole, but there is also a zoom by thinking them, playing single- or multi-user games feature that reveals the minutest details captured in of skill, or “subconsciously” ranking graphic informa- the shot. Plus, “artificial” levels can be inserted so tion are not only lots of fun; there is also a variety that, at certain zoom levels, information and sur- of ways to deploy these modes of human-machine prising interrelationships that are not immediately communication. To do the job, Ars Electronica works White Night Tel Aviv, © Tomer Foltyn © Tomer Aviv, Tel Night White apparent are displayed at specific points in the image. together with g.tec medical engineering, the company This material can be texts, images, videos or animated that developed the first commercially-available BCI sequences with added explanatory value. The primary in 1999 and now distributes its products in over 60 user benefits are the ability to independently explore countries worldwide. jumbo-format panoramas, and the impressive visual In what would turn out to be a flourishing collabora- power of the image. tion, Ars Electronica Solutions began working together with Wacker Neuson at the 2017 Ars Electronica Festival, where visitors could drive a six-ton earth mover using only a brain-computer interface and eye-tracking technology. What was then a prototype Brain Computer Interface © g.tec © Interface Computer Brain has been continually upgraded and enhanced, and is now the featured attraction at every Wacker Neuson event!

MIXED REALITY SCENARIOS Gigapixel Viewer, © Ars Electronica © Ars Viewer, Gigapixel Ars Electronica Solutions offers interactive and totally

immersive augmented reality and virtual reality solu- tions for events, showrooms, temporary & long-term exhibitions, situation-specific productions in public spaces, and memorabilia that activate the virtual sce- nario anytime, anywhere. We program larger-than- Urban Development in the Austrian life augmented and virtual 3-D scenarios and design holistic mixed reality experiences for entertainment City of Leoben & marketing uses as well as in corporate communica- tions. And we customize them to the specific target Most recently, a Gigapixel Viewer was created for what they’re experiencing, the platform’s rotunda © Ars Electronica © Ars voestalpine Drone Race Performance, Performance, Race Drone voestalpine audience and with their own content. Leoben’s urban development authority and installed has been equipped with an interactive display per- We specialize in interactive 3-D augmented reality in Maßenburg, a 13th-century fortress that has been mitting targeted searches throughout Leoben. Each of applications (iOS, Android, Windows Phone), either open to visitors since 2000. Its western defensive two gigapixel images shows the city from a different mobile or as a stationary installation. We work and do tower was outfitted with an observation platform perspective—one from Maßenburg; the other from a research in the GPS-based augmented reality sector to provide visitors with great views of the city. To promontory facing it. (AR 2.0) or markerless augmented reality, and inte- enable guests to conveniently find out more about grate intelligent avatars equipped with speech rec- ognition AI into real spaces to achieve extraordinarily sensory, hybrid storytelling—like the drone perfor- mance in Kapfenberg! Mixed Reality, © Bobby Rajesh Malhotra Rajesh © Bobby Reality, Mixed

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Ars Electronica

Export ZER01NE

Since 2004, Ars Electronica has worked together with partners in art and culture, science and education, that are curated by Ars Electronica in accordance with thematic, technological or historic criteria and that also commerce and industry to produce a diverse array of projects all over the world. The spectrum includes flexibly permit the integration of our partner’s artistic and technical know-how. Whether one decides on a ­exhibitions and presentations, conferences and workshops, performances and interventions. What complete package or customized program of activities – our job is to create just the right lineup of inspiring these collaborative activities have in common is the inspiration they derive from the ideas and visions of artistic and scientific projects, to align them into a path that builds on the successes of the past and is con- Ars Electronica’s worldwide network. ducive to a promising future, and to work together with our partners to get the latest developments at the Ars Electronica EXPORT offers partners the possibility of selecting from menu of individual options or deciding interface of art, technology and society across to international audiences as a means of initiating a discussion on a complete package—depending on their particular wishes, interests and resources. It’s up to the partner today of the ideas of tomorrow. to decide whether existing exhibitions, presentations, conferences and workshops in the form of complete arrangements are the most cost-efficient way to achieve their objectives, or if the way to go is with selections ars.electronica.art/export

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Digital Design Weekend 2017 Tokyo Midtown: School of the Future Victoria & Albert Museum, London, UK Tokyo Midtown, Tokyo, Japan Austrian Cultural Forum London, UK What IF? exhibition, August 18—August 20, 2017 September 23—24 2017 Out of Control exhibition, October 13—October 16, 2017

School of the Future creates the setting for discussions The Digital Design Weekend brings together artists, condensed the program for the weekend. The presen- about technology, society and art right in the Tokyo designers, engineers, technologists and the public tations were supported by the Austrian Cultural Forum Midtown complex in the heart of Japan’s megalopolis. to celebrate and share contemporary digital art and London (ACF), the Austrian Embassy London, the AVL This project enables people to discuss new trends in design. Participants take over the Museum with Cultural Foundation (AT) and NIO Nextev Limited (UK). our society that they cannot learn about in schools. pop-up installations, robotics, creative electronics, What does it mean to shift perspectives? How do we talks, workshops, family-friendly events and more. deal with modern information overload? And how do For the second year, Ars Electronica has been invited https://ars.electronica.art/aeblog/en/2017/10/16/digital-de- technology and society influence each other recipro- to select a number of artists to showcase their work sign-weekend-2017/ With: Davide Bevilacqua (IT, AT), Veronika Krenn (AT) and Vesela cally? In this series of exhibitions and Talk Sessions in person at the V&A. Additional workshops and Mihaylova / prazlab (AT), Leo Peschta (AT), Irene Posch (AT) & staged at regular intervals since 2017, Ars Electronica performances in the Austrian Cultural Forum London Ebru Kurbak (TR). and Tokyo Midtown have been collaborating with people in Tokyo to find out what potential answers to these questions might be like.

http://ars.electronica.art/international/en/tokyo-midtown- school-of-the-future/ What IF? Exhibition With: Daily Portal Z (JP) and Techno-Shugei Club (JP), Ryota Kuwakubo (JP), David O’Reilly (IE) Out of Control exhibition With: Paolo Cirio (IT), So Kanno (JP) and Takahiro Yamaguchi (JP) Paolo Cirio (IT), © Tokyo Midtown (IT), Cirio Paolo Ghosts, © Tokyo Street

Ursuppe, Davide Bevilacqua, Alberto Boem Paolo Cirio (IT), © Tokyo Midtown (IT), Cirio Paolo Ghosts, © Tokyo Street

So Kanno & Takahiro Takahiro & Kanno So Languages, Asemic Midtown (JP), © Tokyo Yamaguchi formbytime, Leo Peschta

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Ars Electronica in the Knowledge Capital—Artists as Catalysts (Vol. 8) Knowledge Capital Osaka, Japan December 20 2017—February 25 2018

The event series “Ars Electronica in the Knowledge them and influence society with their innovations. The Capital” in Osaka, Japan, invites business and creative participating artists are Katia Vega, who integrates people to be inspired by artistic perspectives with a technology into beauty products, and Genta Kondo mix of exhibition, lectures and workshops. In edition who produces a new type of robotic prosthetic arms. Vol. 8, from December 20, 2017, to February 25, 2018, Ars Electronica is represented by Kyoko Kunoh, an art- the theme of this get-together is called “Artists as ist and a researcher at Ars Electronica Futurelab.

Catalysts.” The idea of the event is that the artists https://kc-i.jp/en/activity/arselectronica/vol08/ themselves act as catalysts, inspire people around With: Katia Vega (PE), Genta Kondo (JP), Kyoko Kunoh (JP, AT) GalleryCode of

Ars Electronica in Nigeria Gallery of Code, Abuja, Nigeria January 2018—ongoing

Gallery of Code—or: Prototypes for Africa. Gallery of workshops, and ideas lead to prototypes. Within one Code in Abuja, Nigeria is a multidisciplinary lab that year a creative community will be created around the Oskar Ekponimo (NG) has established with the sup- Gallery of Code, and Ars Electronica will support with port of the Austrian Foreign Ministry, Ars Electronica knowledge transfer, artistic and scientific know-how and other partners. Its target audience is the coun- via sharing its worldwide contacts. try’s young generation of students and entrepreneurs. This is where art meets science, talks team up with https://ars.electronica.art/aeblog/en/2018/05/19/gallery-of-code/ Knowledge Capital Knowledge

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TIME’S UP / Medusa Bar particles hosted by Ars Electronica Vienna, Bildraum 07 August 25—September 6, 2018

Ars Electronica and Bildraum 07 are exhibiting selected in Turnton and to the world beyond that city’s limits elements of “Turnton Docklands,” a Time’s Up installa- can be imagined and scrutinized. tion that was previously shown in Lentos Art Museum. Medusa Bar Particles is also being presented in Val- These are fragments of a dockside bar in a fictional letta, the 2018 European Capital of Culture, in the form seaside town named Turnton; the year is 2047, when, of a walk-through narrative that is part of Cabinet of despite ecological degradation and its horrendous con- Futures. sequences, there emerges amidst this environmental dystopia a society capable of sustainable coexistence. In cooperation with Bildrecht www.bildrecht.at Nikeyswoda, Nick Ervinck, © Florian Voggeneder The Medusa Bar becomes an individual space for exploration and interpretation by installation visitors With the gracious support of Linz Tourismus themselves, a setting in which sociopolitical changes www.linztourismus.at

Human Study #1, 3RNP, Patrick Tresset, © Florian Voggeneder

European Forum Alpbach 2018— Graf Vanessa ART TEC: Interfaces of Art, Technology and Science Alpbach, Austria August 23—August 25, 2018

The internationally recognized Technology Talks in together with selected artists, have been taking full Alpbach once again take place this year with a top- advantage of this opportunity to show current works class three-day symposium. from the field of artistic deep learning processes to In addition to the inspiring lectures, artistic works are creative VR applications on the topic of “Diversity and

intended to stimulate reflection. Ars Electronica Linz, Resilience.” Unger Elisa

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his wonderful sculptural installation with a rotating Ars Electronica @Hyundai Motor­studio mirror in the middle will enable installation visitors to see that we human beings are a determinative part of Seoul–Moscow–Beijing that which we call nature. The Hyundai Motorstudio Beijing in the heart of the “Future Humanity–Our Shared Planet” vibrant 798 art district—probably the world’s most exotic and unusual corporate showcase of a global “Once you have tasted flight, you will forever possible by Hyundai Motor Group, which made available auto manufacturer—will be the site of the most inten- walk the earth with your eyes turned skyward, its respective venues—the Hyundai Motorstudios— sive and diverse encounter with the “Future Human- for there you have been, and there you will in these three metropolises. This opens up an extra­ ity” theme. always long to return.” – Leonardo da Vinci ordinary opportunity to confront, at three culturally Depth of Circle , ROOMTONE Ars Electronica is working together with CAFA, Bei- dissimilar places, one and the same question: What jing’s elite art university under the direction of Prof. The dream of flying was the epitome of human visions influence does technology have there on cultural QIU Zhijie, an artist and curator (e. g. of the 2017 until not very long ago—as fascinating as it was unat- coexistence, and vice versa? Posing these questions Parallel to this show, Hyundai Motorstudio Seoul will Chinese Pavilion in Venice) who is himself one of the tainable. We want to make the seemingly impossible in the context of a setting the mission of which is to showcase three works by Yangachi (KR), Jangwon leading lights of the media art scene in China. He’ll be possible; we strive to transcend our limits, to perfect advertise products and generate a brand experience for Lee (KR) and ROOMTONE. The young artist collective enriching the exhibition with a selection of art projects and expand ourselves. Precisely such efforts to go all potential customers exposes new target audiences to named ROOMTONE (Dongwook Kim (KR) and Jinkyung by students. out to achieve the unachievable may well constitute art. At the same time, this offers the perfect platform Jeon (KR)) engages in experimental production and Another collaborator is Hyundai’s in-house ARTLAB the core of what makes us human beings so unique— to show what constructive surprises art is in a posi- storytelling. Their work Depth of Circle is a perfor- directed by LEE Daehyung, curator of the 2017 South the consciousness of the subjective self together tion to engender, the didactic role that art can play mance exploring the possibilities of artistic expres- Korean Pavilion in Venice. This coalition is jointly pro- with our finite nature, our mortality. From dream to in helping us understand the realities that surround sion in virtual reality environments with game engines ducing an exhibition solidly based on Ars Electronica’s trauma—what a dilemma. Attaining the unattainable us, and what concrete contribution artists can make and sound. The collective will attempt to explore the fundamental orientation—art, society and technology. demands a concrete necessity, creativity and the right to the solution of specific social problems. And this gray area at the interface of media art and the ­gaming This show spotlights those technologies that were instruments, the right technology. Since time imme- takes place totally beyond the realm of an elite artistic industry. Enlightment #1, #2 by Jangwon Lee (KR) brought forth by the Digital Revolution and whose morial, humankind’s great achievements also speak discourse; this one plays out face-to-face, so to speak, seeks structure and essence in nature and investi- omnipresence is already exerting a massive influence to us about the ingenious instruments and technolo- and involves consumers, users, citizens, artists and, of gates the human being’s role therein. In particular, on everyday life in our society. gies we’ve used to achieve these things. Each epoch course, people who esteem and love art. and every definition of cultural identity is thus also characterized to a very great extent by the technol- Dmitry Morozov aka ::vtol:: is an incredibly versatile ogies created and deployed then and there—and vice and successful artist and researcher from Russia. He versa. Thus, a culture shapes a technology just as the attempts to interconnect emerging technical systems technology simultaneously makes an impact on the with innovative technologies, and to place himself culture. This eternal interrelationship between us and/or other people into this context. With his bizarre human beings and the technology that envelops us apparatuses and installations, he’ll transform Hyundai’s seems, especially at this point in time, to be on the Motorstudio Moscow into a prototypical artistic verge of a revolutionary paradigm shift. After all, we’re laboratory and thereby display a cross-section of his transitioning from an age in which we operate oeuvre. machines and deploy them as tools to the next one in which we share our lives with machines and technical systems and coexist with them. So the question that arises is what this radical shift in the human-machine relationship might mean for us human beings and what we ultimately expect and want from technology. Ars Electronica is confronting these issues in a wide-ranging international framework encompassing three exhibition locations—Moscow, Beijing and Seoul, where domestic and international artistic perspectives on these topics enter into a dialog. This has been made Outdoor Landscape of Hyundai Motorstudio Beijing, © Hyundai Motorstudio Beijing Motorstudio © Hyundai Beijing, Motorstudio of Hyundai Landscape Outdoor telekniting, Dmitry Morozov

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Statements of the co-curators

“The way I see it, the chaos plaguing our belief and interpretation systems is the root of the political and cultural turmoil the world faces today. While I recognize that technology allows society the capability and model to operate an economy, it has also brought about never-before-seen issues of politics, interpersonal communication and sensibilities. Nonetheless, my primary concern lies in how technology can change human belief and interpretation systems. More specifically, how technology will reconstruct people’s religious faith and spiritual practices. In an era of the “future humanity”, how will people live in a world without gods and spirits? Once technology completely overthrows these spirits and gods, what will be left to truly awe us?” QIU Zhijie, CURATOR AND MEDIA ARTIST

“Our most recent decade has seen an up swerve in right-wing politics which uphold elitist groups, anta­ gonizing those who are less fortunate and maintaining social and national divisions. Ideological walls are being rebuilt, and despite the prevalence of a virtual “sharing economy,” real-life, collective problem- solving feels undernourished. Enabled simultaneously by art and by technology, the exhibition Future Humanity: Our Shared Planet imagines the experience of a new environment with alternative political, social, cultural, and technological conditions. It has been organized by three co-curators from different backgrounds, representing three different countries and viewpoints. These three organizers nonetheless share the same vision: that our future belongs to everyone, and because of that, our definition of human- Cilllia, Jifei Ou ity and human responsibility needs to be redefined together. This pooling of intelligence from three sides is a symbolic approach reflecting an aim for curating in the future.” And once you’ve gotten past the hurdle of hair and one wish beyond that — vanquishing death itself or LEE Daehyung, ART DIRECTOR, ARTLAB, HYUNDAI MOTOR COMPANY fur, you’re confronted by the fragility and dynamism decoding the secret of life. of a feather and, right after that, redeeming one of WAVES – Violence Breeds Violence by Memo Akten the great metaphors of human visions: the dream of (TR/UK) is an homage to the long relationship between The exhibition will show which areas of our life will be spaces emerge also because the selection of artists is flying. And it can well be maintained that there’s only art and science. most directly affected by technological challenges that designed to permit national and global, female and prompt human beings to wrestle with what it means male perspectives to flow into them and to play out to be human and to endeavor to redefine traditional across the generational spectrum of artistic creativity— practices. The aim is to demonstrate which opportuni- from students to established veterans. ties and risks are upshots of this and, above all, what Riddle Garden an interactive installation by Prof. QIU position the human being assumes amidst it all. VR, Zhijie himself will be set up on the public square in AI, IoT, intelligent environments, things and machines, front of Hyundai Motorstudio Bejing to invite to the robotics and Big Data are just a few of the technologies exhibition. A conversation with the artist Jifei Ou (CN) that this exhibition takes a critical approach towards at the opening of an exhibition at Centre Pompidou and creates a productive mode of coming to terms with. in Paris was the inspiration for the general curatorial Among the works on display, there will emerge asso- approach to putting together this exhibition. With his ciative spaces that will not only transport us far work Cilllia, an attempt to use a high-resolution 3-D beyond the “art world” but also take us deep into the printer to produce plastic as thin as hair or fur struc- everyday routines of all the protagonists interacting tures, he calls into question the conventional “form fol- in the configuration called a society. These associative lows function” design paradigm.

Waves, Memo Akten

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It shows some of the amazing artistic-aesthetic pos- From this is derived the provocative-ironic assumption sibilities for depicting and didactically presenting that we human beings ought to develop new forms of complex masses of scientific data, but it also points behavior to deal with machines—a new social intel- out the precarious realities that can lie behind some ligence, as it were—in order to ultimately interact as depictions’ beauty, and stresses how important it is to equals with our intelligent, technologized environment maintain and train one’s own critical view of things. In and not be subsumed to it. another work entitled Learning to see: Hello, World!, Etsuko Ichihara’s (JP) Digital Shaman Project deals Memo Akten scrutinizes the process of learning and with mourning as cultural practice to come to terms understanding by means of a neuronal network. In the with death. She offers a way to adapt the mostly rit- exhibition, an artificial intelligence will open its eyes ualized acts of mourning to technological progress by for the first time and attempt to comprehend what it deploying digital robotic assistants. beholds. This is almost comparable to the experiences This work raises the key question: What role do we ARS ELECTRONICA four decades: of a newborn baby—though just barely—in that his as human beings from different cultural backgrounds work holds up a mirror before us and reminds us that assign to technology and how do we permit these the essentials human intelligence has been formed by a long history devices to so enduringly influence us in the most inti- of evolution. Thus, a newborn’s brain, in contrast to a mate situations—both as individuals and collectively Initiated by Prof. QIU Zhijie of CAFA, a construction Ars Electronica on a show that will be what amounts computer, comes equipped with complex evolutionary as a culture. ­project has been in progress for some time now to a harbinger announcing the theme of the coming architecture. immediately adjacent to CAFA’s Beijing Campus. Once year, which is Ars Electronica’s 40th anniversary. The completed, this will be the Steam Center Beijing, a exhibition will be dedicated to the general history of Another mirror—one that’s even more of an essential Collectively curated by Martin HONZIK, QIU Zhijie, element of this show’s basic orientation—is being held LEE Daehyung new type of trans- and multidisciplinary center for media art. Material from the Ars Electronica Archive up by the Korean artists’ collective Shinseungback and innovative technologies, scientists, media artists and and a diverse array of other works by some of the pio- Text: Martin Honzik Kimyonghun (KR). Defining the epicenter of the exhi- business people. Equipped with an assortment of lab- neers in this field will document how a tiny community oratories (FAB, BIO, VR, AI) and facilities and oriented of media artists—derisively referred to as “nerds” by bition is Nonfacial Mirror, a small makeup applica- Presented works at the exhibition “Future Humanity — tion aid that displays intelligence in evading visitors’ Our Shared Planet” in the Hyundai Motorstudio Beijing from on openness, this is meant to host a new culture of the larger world of contemporary art—developed what November 7th, 2018 – February 28th, 2019: attempts to see their own reflection. collaboration. The physical plant will be nourished by is now a recognized artistic genre and a fixture of the Riddle Garden: Qiu Zhijie (CN) the innovative power and creativity of CAFA’s student art scene. This exhibition will also display and discuss The great thing about this work in the context of this Ad lib.: Michele Spanghero (IT) body and faculty. Its mission: Applying artistic think- cross-references to the social effects of digitization. exhibition is that imparting intelligence to our tech- Nonfacial Mirror & Cloud Face: Shinseungback Kimyonghun (KR) nology-pervaded surroundings is something that, [help me know the truth]: Mary Flanagan (US) [see CyberArts ing and alternative approaches to deliver new impulses Of enduring importance is also the fact that large 2018 — Prix Ars Electronica Exhibition, OK Offenes Kulturhaus] obviously, can be expected to have consequences. to commerce and industry in dealing with technology. portions of Ars Electronica’s documentary material is Learning to see: Hello, World! & WAVES: Memo Akten (TR) Conversely, industrial firms in particular have at their being translated into Chinese by Prof. QIU Zhijie’s staff Transformative Appetite & Paper Actuator: Lining Yao (US/CN) Cilllia: Jifei Ou (CN) disposal resources such as infrastructure and specific in order to assure speakers of Chinese free access to Regenerative Reliquary: Amy Karle (US) facilities that often don’t accomplish all they could scholarly research. The Art of Deception: Toby Kiers, Isaac Monté (NL) [see p. 49] due to a lack of creativity in how they’re used because The Lacuna Shifts: Leonhard Lass, Gregor Ladenhauf (AT) managers simply fail to take advantage of the poten- Digital Shaman Project: Etsuko Ichihara (JP) [see CyberArts 2018 Exhibition Title: Fourty Years of Ars Electronica: the essentials — Prix Ars Electronica Exhibition, OK Offenes Kulturhaus] tial of more diverse areas of application. Inviting art- Curator: QIU Zhijie End of Life Care Machine: Dan Chen (TW/US) ists to explore alternative approaches to usage and Assistant Curators: ZHOU Rongrong, Iris LONG Surveillance 2.0: Iris & Cedar (CN) new applications will be the key to success here. As its Partner: Hyundai Motor Plato’s Cube: Wang Yuyang (CN) first exhibition project, CAFA is working together with Venue: Steam Center, Beijing, China On Forgetting: The Brain Training Twin Pagodas Project Plan / Deng Hanbin (CN), Zhang Sitian (CN), Li Chengyu (CN)

Presented works in the Hyundai Motorstudio Seoul Screen, Screen, Screen: Yangachi (KR) Depth of Circle: ROOMTONE ( KIM Dongwook (KR), JEON Jinkyung (KR)) Enlightment: LEE Jangwon (KR)

Presented works in Hyundai Motorstudio Moscow a selection of works by Dimitry Morozov (RU) Nonfacial Mirror, Shinseungback, Kimyonghun

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Ars Electronica in Berlin: ERROR—THE ART OF IMPERFECTION DRIVE. Volkswagen Group Forum Berlin November 16, 2018 to February 28, 2019

ERROR – THE ART OF IMPERFECTION is not only with? Cross-platform exchange makes control in the the theme of this year’s Ars Electronica Festival in online universe a sheer impossibility. Accordingly, Linz, Austria; it’s also the title of an exhibition that we pose the question: To what extent is error in the Ars Electronica is staging in DRIVE. Volkswagen Group Digital World even verifiable and not just the realm of Forum in Berlin from November 17, 2018 to February manipulation by the few who have access to it? And 28, 2019. if deviation becomes manipulation, then what about Whereas the Ars Electronica Festival takes a very responsibility? Shouldn’t it increasingly be up to us to wide-ranging approach to the ERROR theme, what demand greater transparency? After all, aren’t we the we specifically want to do in Berlin is tightly focus on ones who ultimately determine the values and norms various options for responding to errors. After all, an of a society and a culture? error is neither good nor bad per se. For us, an error In our exhibition in DRIVE. Volkswagen Group Forum is first of all “only” a deviation from that which we Berlin, we utilize artistic approaches to elaborate expect. And this is the precise point at which artists on the possibilities for action on the part of human come into play in our exhibition, workshops and crit- beings, the responsible elements of a society. Our abil- ical talks. They’re the ones who, often intentionally, ity to meet the challenges of the future depends, first take deviations and errors as far as they can go. It’s of all, on whether we demand access to these devia- inherent in artists’ nature to confront their audience tions in order to be able to, secondly, decide whether with deviations from expected behaviors. In our exhi- we can tolerate these deviations and take advantage bition, though, what interests us above all is a ques- of them for our further development. After all, thirdly, tion: What about when we’re unable to recognize the we have to be able to defend ourselves against those deviation anymore? When we no longer even have deviations that go too far for us, that lie outside our the capacity to understand that what’s just occurred range of tolerance. Only when we succeed at every one is a deviation, which we can tolerate or not? Or when of these do we have a future together as a society. deviations are purposely disguised so that they’re no longer recognizable as something to be dealt Text: Manuela Naveau Florian Voggeneder Florian

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POSTCITY LAB Seoul ZER01NE ZER01NE, Seoul, Korea June 19-21, 2018 Creative Network Platform Collectively curated by ZER01NE & Ars Electronica ZER01NE is a space where people of different back- Creator Project What challenges will cities face in the future? Seoul A fourth group labeled LiDAR was outfitted with a grounds and expertise gather with a shared value for ZER01NE promotes projects where creators from became the inaugural site for Postcity Lab Seoul, sensor kit packed in its rucksack and accompanied creativity. It is a creative network platform operating diverse disciplines, startups, and external partners a three-day workshop in which the participants, the three themed groups to their various locations at the intersection of “ART,” “TECH,” and “BIZ.” In 2018, grow together. Collaborative projects that combine the ZER01NE creators and Ars Electronica experts, could each day. For one thing, they employed laser beam ZER01NE launched its first program with 20 “ART” expertise of startups and the originality of ­creators examine and share the thoughts about the future of sensors to optically generate their own distance and creators and 7 “BIZ” startups. Together, creators and generate a synergy that can have a greater social the city. The workshop was realized in a collaborative speed measurements, which then flowed into their startups collaborate through their shared language of impact. Such synergistic projects are what distinguish effort with ZER01NE and its creators. ZER01NE, a artistic takes on the physical locations they visited; “TECH” at the playground ZER01NE offers. ZER01NE from art museums and startup incubators. ­creative network platform newly launched in 2018, has for another, they functioned as a source of irritation ZER01NE provides support so that each participant’s Individual projects by ZER01NE creators illustrate also acted as the local hub where all participants could in the public sphere and revealed control mechanisms creativity is realized to its fullest potential and so a coexistence of artistic practice and technological gather. In the company of local creatives associated by provoking confrontations with public authorities that their creativity receives the appropriate financial advancement. For instance, an artistic approach to with the ZER01NE hub and international experts, we during the expedition. reward. Additionally, ZER01NE seeks to discover the the use of technology in our society and critical per- set out on daily expeditions in three different­ direc- possibility for new innovations resulting from every- spectives on our technology-driven society. At the With: OAK Jungho (KR), CHOI Youngjun (KR), Chris SHEN (UK), tions. In the afternoon, the three groups reconvened Dakd JUNG (KR), CHOI Byoungil (KR), HWANG Moonjung (KR), one’s collective creativity and immersion in the process same time, diverse art projects are in progress as well, at the ZER01NE base camp to share their impres- KIM Nahee (KR), KIM Sungbaek (KR), GIM Jeongtae (KR), of making ideas into reality. namely, experiments with different materials, critical sions captured in photos, videos, scribbles and notes. CHO Hoyoung (KR), Hoonida KIM (KR), PARK Seungsoon (KR), works dealing with the current state of media, and CHOI Jinoon (KR), YANG Sookyun (KR), Sophie Lamparter (CH), A database system was set up especially for the Manu Luksch (AT, UK), Ian Banerjee (IN, AT), Pablo de Soto (BA), the combination of sound art with object installation. workshop and an interactive city map put the day’s Eric Dahlstrom (NZ), Kilian Kleinschmidt (DE), Bradly Dunn ZER01NE, a platform and creative network where everyone’s ­anecdotes on the table in the truest sense of the word. Klerks (NL, BE), Edwina Portocarrero (ME), Ilaria Hoppe (DE) creativity is realized, is supported by Hyundai Motor Group. The first group wrestled with issues raised by a SMART CITY. What impact does the urban digitization process have on city dwellers? What influence do automation processes have on a smart city? How will the city look when we’re all hooked up to self-learning and auto- mated things and objects? And besides the consider- ation of motor vehicles, what could automation bring about in a future city? The second crew took POST-DESERTIFICATION as their topic. What challenges arise in areas of the cityscape devoid of human beings—spaces without owners, administrators or caretakers? How could ­technologies transform abandoned zones into neighborhoods with an agenda and a function for citizens, and what ­various significances for a city can depopulated places be endowed with? The matter of interaction between a city and its inhabitants was investigated by the third group. POST-­SENSATION dealt with sensory experiences in general in an urban setting, and, specifically, the var- ious modes of experiencing, capturing and measuring fragrances, tastes, sounds, sights and haptic inputs in such places. They asked: What does it mean to expe- rience a city? And how can/should we use technology to get our senses into balance or to augment them in ZER01NE a sensible way? ZER01NE

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